Latest news with #TheKeep
Time of India
12 hours ago
- Science
- Time of India
How to get light and heavy compressors in Dune Awakening?
(Image via Funcom) In Dune: Awakening, crafting powerful weapons requires essential components like heavy and light compressors. The vital components are the gatekeepers to aluminium-level arsenals and much beyond. Knowing where you can find them efficiently is important for progression, but the desert guards its secrets well. Here is all you need to know about where to find compressors and how to secure these valuable items easily. Where to find Dune Awakening compressors ? The Light and Heavy Compressors are focused primarily on enemy outposts across Eastern and Western Shield Walls. The regions are located on Vermillius Gap's north and contain chests that respawn every 45 minutes. This is where the compressors hide. Eastern Shield Wall is much more accessible early on, with some key locations like Sentinel City, Ironwatch, Kief's Triumph, Weather Top, Southern Comms, Eastern Comms, and Western Comms offering reliable loots. How to Get Heavy Caliber Compressors in Dune Awakening Quick Guide For a smoother farming route, make a start at Western Comms and then move strategically through every enemy outpost. The Western Shield Wall even holds some rich pickings with spots like The Keep, The Aegis, The Nest, The View, Shield Wall Command, Passage of Artemis, Mysa Overwatch, and The Depot housing compressors. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 여름방학집중반 오픈 파고다어학원 더 알아보기 Undo Once the Weather Top is cleared, transition west to maximize the efficiency. Use Survey Probe always to uncover hidden landmarks before you dive in. Also, the route should be planned with multiple outposts sequentially to achieve maximum efficiency. Note : Survey Probe helps to remove the fog of war and reveal all the regional landmarks. Efficient farming needs a strategic approach, and for it, one must stick to the Eastern Shield Wall if you are on a lower level. Then, progress to the Western side for some high-tier rewards. Aegis is quite particularly valuable, as it even drops Military Power Regulators and Hydraulic Pistons, which are essential for advanced crafting. How to acquire compressors via Dune Awakening Commerce ? If combat is not your preference, commerce can offer you another path. There are 3 specific compressor vendors who stock Heavy and Light Caliber Compressors. Each of them remains priced at 5,000 Solaris. The vendors typically hold 15 units and refresh inventory after 24 hours. All you need to know is where to find the merchants. The 3 merchants are located in three different locations. You can seek Zoe at Crossroads Tradepost, located west of Mysa Tarill, meet Asmara Efendi at the eastern section of the Harko Village and Ant Nostrum at the shop, running in Arrakeen's southeast corner. Also, check Player Exchange markets in Harko Village or Arrakeen. The fellow survivors have often listed Compressors there. Whether you choose to buy, loot, or be consistent, it will ensure you will never run short. Game On Season 1 continues with Mirabai Chanu's inspiring story. Watch Episode 2 here.
USA Today
12-05-2025
- Sport
- USA Today
Great walks: Architect of McLemore's The Keep says 'you just don't ever want to go home'
Great walks: Architect of McLemore's The Keep says 'you just don't ever want to go home' McLemore Resort has come a long way in a short time, its ascent as steep as the cliff above which it sits atop Lookout Mountain. Already home to the Highlands Course, ranked by Golfweek's Best as the No. 3 public-access course in Georgia, the resort property last year added Cloudland, a luxurious new addition to the Curio Collection by Hilton. With 245 guest rooms, many of which offer simply ridiculous views across the cliff's edge and of surrounding mountains – plus 20,000 square feet of event space, a spa and a wide array of dining options – Cloudland has elevated McLemore's accommodations into rare air. Up next: The Keep. Already accepting limited preview play, this new 18-hole course takes the clifftop theme to new heights. With five of its 18 holes playing directly on the cliff's edge, offering long views across the valley below, this newest addition has a planned grand opening of Sept. 8 with a clubhouse and amenities to follow at a yet-to-be-determined date. And it's not just the cliffside holes – the more inland holes play across higher ground, offering full views across the mostly open course and the cliff beyond. The Keep was built by the design partnership of Bill Bergin and Rees Jones, with Bergin as the lead architect. Bergin is a former touring golf professional who spent many years in Europe and played in more than 250 events, including three U.S. Opens and two British Opens. He launched Bergin Golf Designs in 1994 and has been involved in more than 100 course projects. Bergin's work includes a renovation to McLemore's original course, Highlands, where he and Jones introduced a new par-4 18th hole that hugs the cliff with such intimacy as to induce panic in any golfer with a fear of heights – it's often cliché to call a golf hole stunning, but in this case and for some such golfers, it's an appropriate use of the word. Following are a few of Bergin's thoughts and recollections on designing The Keep, edited for length. Golfweek: Just going back in time about four years, what were your impressions the first time you got up to the site that would become The Keep? Bill Bergin: All it had on it were some Jeep trails, and it was all covered with trees. When we were going to take somebody out there, we would take the Jeep trail that stopped basically at the end of the ground that we used for golf, which happens to be about where the 18th green is now. And there was a tiny opening there with beautiful, native fescue grasses. Nobody had planted them, they were just there. And there was a rock outcropping that allowed you to sit right on the edge of this rock, and it dropped off more than 50 feet. You looked out over the entire place, and it was sort of overwhelming. Everybody wanted to get to that spot. That was pretty exciting the first time. There were enough little trails that we were able to get around the site. We found an old still, believe it or not – I wouldn't have wanted to drink anything that was made out of that still. I could assure you that was not trustworthy alcohol. The difference between The Keep and the other course is, the other course has valleys, and it gets to the cliff edge, and it's actually more diverse terrain. It was obviously routed through that diverse terrain, but that caused some pretty good distances between greens and tees, with carts being a must on that golf course. At The Keep, our managing partner called it 'mountain flat.' Well, I know better than that, but it is really pretty. So maybe that was the proper term. What excited you about doing the routing for The Keep? Actually, I routed two golf courses. I routed for 36 holes with The Keep intact now as one set of those 18 holes. That's how good the land was. I literally could put 36 holes on it if they wanted. But being able to use the best land and the best views for the golf course, I've never worked on a project like that where that's been available, because there's always a consideration for something else. And the consideration for The Keep was 100 percent golf. It's definitely a core golf course. Then we started the routing process, and of course you're going to use that cliff's edge, and that becomes the unique part of the routing process. So these were really early days of examining the property, and Duane (Horton, CEO and president of Scenic Land Company) didn't care about returning nines but more about starting and finishing at the spot where we met on that property the first time. Every time we'd go look at the property, we'd go to that spot, and that's where the golf course starts and finishes. So that's pretty cool. No. 18 green kind of plays down toward it. There were some old fold-up lawn chairs there back when we first started looking at the property. And now there will be some Adirondack chairs in the same general area. There's really something very, very special at that spot. It's the kind of place where you want to have a nice Scotch or a bourbon or whatever your drink of choice, and you just don't ever want to go home. Would you describe it as a once-in-a-lifetime site for an architect? It certainly feels like it. No one would call this a site that was just made for golf, because it's rocky. We were building on rock, not sand. So what looks like an easy course to build was very challenging. Below the turf, we didn't have to move a bunch of dirt. We didn't have any dirt to move, honestly. We cleared about 200 acres and only moved about 300,000 cubic yards of dirt, most of it around Nos. 1, 13 and 17, right in there. Otherwise, the golf course just lays on the ground beautifully. We have five holes right on the cliff, and we go along the cliff from the tip of property to the far tip of property. You have quite a bit of width out there at The Keep. Most of the fairways are quite wide, a few with centerline bunkers or even divided fairways. Why was width important for The Keep? The scale of the property dictated that we wanted a big golf course. The big views influence that scale. And once you size up the scale in your mind, everything really needs to fit that. Big fairways, big bunkers, lots of tee options. So we have about 90 acres of basically fairway-cut grass. And then we have 90 acres of native fescue grass. The other thing about it, when you clear 200 acres on the edge of Lookout Mountain, wind becomes a factor. Not every day – some days are just spectacularly gorgeous – but often there's a breeze out there. And if we didn't have those big playing corridors, it would be way too hard. And so that width gives players the ability to be comfortable off the tee, and then you have to become more precise the closer you move to the green. Hopefully we've created enough strategic interests where positioning matters depending on the hole location. That's more for a member than it is for a resort player, just because it takes time to develop that relationship with a golf course to really understand it. Hopefully our resort players want to come back and play it again and again, and then they start to learn the nuance. But in the beginning, it needs to be playable and fun and exciting. For much of my personal design work, I usually actually prefer a little bit smaller greens with interesting and diverse areas around them. That's the way I like golf. But at The Keep, we have bigger greens because a small green would look ridiculous. On a site that big, it just wouldn't fit right. Speaking of your greens, how would you describe them? The greens are probably the biggest mix between Rees and I. His biggest contribution would be on about half the greens, although I still supervised all of them. For the greens, we look for good diversity there. These are more gradually rolling. I will say this, I think right now we're in an architectural trend where some architects overcook greens. I really believe that, and we did not do that at The Keep. Instead, we have some sneaky, subtle stuff out there. Personally, as a former tour player, I just think we as architects as a whole are trying too hard sometimes to make things look good on photographs. And if it looks like there's a lot going on in a photograph, it's usually not very good in real life. It's always walking a line. People want greens to be interesting, but you don't want them to be unfair or just silly. And so our greens, they're very subtle. Was walking an integral part of The Keep from the beginning when you laid it out, because it is generally a pretty short walk from greens to the next tee. Yes, 100 percent. In fact, before we designed the golf course, before we even did grading plans, I did elevation analysis on every hole from every green to the next tee, and down to the landing area, and then to the green. And it's amazing how nicely it all came together. The biggest challenge we have is actually 16 to 17. But that's a downhill walk. If you're a back-tee player, 12 green up to 13 tee is a bit of a hike up the hill, but that's it really. I can't quote what the owners might have in mind, but I would like 75 percent of the people to play The Keep to walk and 25 percent to take carts next year or later this year when we have carts. Has your design philosophy changed any over the years? Ever since I started out, I have three pillars that every architect always has – I mean, I'm not alone on this. We want a great course mechanically, we want it to be interesting strategically, and we want it to be beautiful. So we design mechanically first, and that has always been where we go first. We are the superintendent's friend. I give the superintendent something good to work with, so he can produce golf that people will really enjoy. I would say in my early days, I was more into strategy and mechanics. And in my later days, I'm adding way more of the artistic elements into what I do. I think that my artistic ability has increased a lot. At The Keep, I didn't like leaving the golf course. I wanted to be the last person off the property every evening because it's just a place that speaks to me, and I love that. So I think the key is, it's the epitome of very interesting, memorable, strategic golf. And the beauty is undeniable, almost to a point of distraction. What has it been like to see that entire property evolve to today with two courses plus a hotel? It is truly beyond my imagination. And I give 100 percent credit to all of the team, but especially Duane Horton. He's a visionary. Two of the words that we use up there a lot are persistence and perseverance, because that property went through a lot of problems before we got to this point. And Duane's done it. They have exceeded my expectations by a lot. And I would say that experience is kind of a cool word, because going to McLemore in general is an experience, and I think it's a can't-miss experience. Not just The Keep, it's the Highlands too – they're completely different courses. And staying at that hotel and coming out and playing golf for several days is an incredible privilege. I can't wait for more people to experience what I've seen and just be on the ground in that part of the world. It's special.
New York Times
14-02-2025
- Entertainment
- New York Times
10 Great Gothic Thrillers That Will Keep You Up at Night
Horror is having a moment. Once confined largely to Halloween, or at least to October, 'spooky season' has evolved into a monthslong phenomenon — and our hunger for the frightful doesn't stop there. At a time when real life can feel like a nightmare, a collective turn toward the ghoulish and the ghastly might seem counterintuitive, but the Gothic genre has always offered a space to examine the darkest corners of the human psyche. The supernatural happenings that scare us out of our skin are — like the portrait of Dorian Gray — reflections of our own evil as much as anything else. These novels, both old and new, will make you shiver with delight one moment and recoil in hair-raising horror the next. Rebecca In this master class of psychological horror, the naïve second wife of Maxim de Winter grapples with the legacy of his first spouse, Rebecca. Du Maurier makes good use of many of the usual tropes of the Gothic genre, especially uncanny doubling: Relentlessly and unfavorably compared to the Manderley estate's bewitching former mistress, the nameless narrator is pushed to the brink of sanity by the sinister housekeeper, Mrs. Danvers. Secrets bob to the surface like drowning victims from the deep until nobody — not even the reader — can easily separate the terrible truth from even more terrible fictions. The Keep This book has it all: castles, caves, childhood nightmares dragged back into the light. Grotesque and fantastic, 'The Keep' is one of Egan's more experimental novels, in which two cousins haunted by a childhood prank reunite in a remote village in Eastern Europe to turn its tumbledown castle into an alternative resort. ('The White Lotus' Season 4, anyone?) Egan's descriptions of the setting are elegant, whimsical and incredibly evocative, conjuring a rare and delightful tale of things that go bump in the night. A Heart So White In the late 1700s, many of the earliest Gothic writers turned to Shakespeare for inspiration. Two centuries later, the Spanish writer Marías took a page out of their book with 'Corazón tan blanco,' published in English as 'A Heart So White,' which borrows not only its title but also many of its major themes from 'Macbeth.' After their wedding, Juan, the narrator, and his young wife begin probing his father's shadowed past, and find blood and betrayal at every turn. As in 'Rebecca,' in this tale a new marriage exposes old family secrets and cycles of violence, but through a glass darkly. Author and narrator alike refuse easy moral judgments as past and present collapse in murky obscurity. Set in Spain and Cuba, 'A Heart So White' also shares with Shakespeare's Scottish play a lingering unease at the bloody legacies of Catholic dogma. But the real witchcraft in the novel is the language; even in translation, Marías's sinuous, elliptical prose unfolds like a troubled dream. Earthlings One of the strangest novels you will ever read, Murata's 'Earthlings' is impossible to categorize and just as difficult to describe. That's exactly what makes the book so delicious — and so disturbing. Murata's hairpin narrative style keeps readers so persistently off-balance that you'll feel like a Gothic heroine yourself, lost in a maze of blind corners, dead ends and mind-boggling moments. But the darkness lurking at the core of this modern fable about a girl who believes she is an alien is all too real and so eerily familiar that, when the shocking ending arrives, you might not know what to believe. Fledgling Like many of the best-known Gothic thrillers of centuries past, 'Fledgling' blends genres and bends morality with grisly determination. One part horror, one part science fiction and one part fantasy, this is a refreshingly freaky entry in the overworn category of vampire fiction. As sinister as they are seductive, Butler's bloodsuckers prey on human frailty as much as human flesh. The novel's protagonist, Shori, challenges — often violently — assumptions about race and power, sexuality and desire, and every ethical truth you thought you knew. Not for the faint of heart or weak of stomach, 'Fledgling' is a slim but sharp-toothed novel unjustly overlooked in Butler's oeuvre. Sundial Ward's sun-soaked 'Sundial" is Southwestern Gothic at its finest. Childhood horrors and bones long buried splinter into the present when Rob spirits her elder daughter away from their suburban neighborhood after the remains of house pets and local wildlife start turning up in her bedroom and the 12-year-old's 'silent fury' threatens her younger sister. Rob's strange and sinister childhood home offers no sanctuary, however: It harbors a dark history of child abuse, dubious animal experimentation and an unnamed evil slinking through the badlands like a snake. The Cement Garden The premise alone is goose bumps grim: After the death of their mother, four children decide to hide her body in a trunk of cement in their basement and fend for themselves rather than surrender to social workers and foster care. What follows is a twisted game of house where familiar familial relationships crumble and new ones take root like nasty black weeds. This one will make your skin crawl. The Historian In her fresh take on the vampire novel, Kostova reworks the Dracula legend with a historian's meticulous attention to detail. Following in the tradition of imperiled Gothic heroines, a young woman in 1970s Amsterdam finds herself in the clutches of malevolent forces as she tries to unravel the mystery of her mother's disappearance, which seems to be tied to the 15th-century reign of Vlad the Impaler and a sinister, supernatural legacy that stretches into her present. The sweeping scope of this aptly titled novel makes it perfect for a long dark evening, and for readers who like a side of folklore with their thrills and chills. Child of God A word of caution: Don't read this book on the bus, or the train, or anywhere else someone might be tempted to look over your shoulder. McCarthy follows in the footsteps of William Faulkner in this disquieting masterpiece of Southern Gothic horror, treading where few other authors dare. His characteristically sparse prose only makes this portrait of a necrophiliac serial killer haunting the hill country of eastern Tennessee that much more disturbing: Lester Ballard makes Norman Bates look like Beaver Cleaver. Our Share of Night If such a thing as a slow-burn thriller exists, this is it. Like 'The Historian,' Enríquez's dense danse macabre of a novel braids together fantasy, horror and historical fiction. Set in the 1980s and '90s, against the aftermath of Argentina's military dictatorship, 'Our Share of Night' reimagines the all-too-human evils of the world as a ravenous supernatural power known only as 'the Darkness,' which has spawned a secret society of rich, immortality-seeking devotees known as the Cult of the Shadow. The Darkness feeds on suffering and cruelty and, as this circuitous tale spins through the years and around the world, it finds more than enough acolytes to satisfy its gruesome appetite.
