🚨 Japan Just Broke The French Bond Market One Tokyo fund (Sumitomo Mitsui DS) didn’t trim exposure. It dumped every French government bond it held and rotated into German Bunds and short-term Japanese paper. Not a reduction. Full exit. Something that even shocked the Financial Street. The France-Germany 10-year spread blew past 140 basis points, the widest gap since the euro crisis. France's 5-year CDS has spiked up to 81 basis points, the highest since 2013. The higher the number, the greater the risk of national bankruptcy. French domestic holders are now facing a deeper mark-to-market loss and a less liquid exit to sell into the same one-way market. Japanese investors still sit on roughly ¥25 trillion of French debt, second only to American holders and this was a single manager’s book. Carry trades that funded higher-yielding global debt market with cheap yen just got a live demo of how fast the unwind can hit. When the bid from Japan disappears, the largest European sovereign market has to find new buyers at the same time its own government is arguing over a deficit plan that markets already distrust. If more Japanese money follows the same exit, the same flow that once compressed euro spreads can reprice them in the other direction. We now understand what @yutokanzakireal meant by saying “Japan is bringing the entire house down” in response to Scott Bessent’s “I am the house now” statement: Ending cheap-yen funding is forcing a margin call on the leveraged global debt system built on the carry trade and not just the U.S. leverage. France just got the first real look at what Japan’s wealth returning to the homeland looks like.

Exactly 37 years ago on October 3, 1989, a game was released that took the world by storm. Prince of Persia (by Jordan Mechner) had such fluid and lifelike animations, that gamer-jaws were dropping left, right, and center. Rightfully so. But that alone wouldn’t have made the game such a massive hit and gaming-culture icon, I think. Prince of Persia also popularized the “cinematic platformer” genre (Karateka, Mechner’s earlier game, introduced it, though on a much smaller scale), with its immersive atmosphere, deadly falls and traps, and a real sense of weight and physics in movement. Jumps and sword swings had to be timed precisely; mistiming felt punishing but realistic, and also far less cartoonish than typical platformers. It wasn’t just a straight left-to-right platformer either. You had to go back and forth, open pathways through hidden mechanisms, and more. It always felt like it had some Indiana Jones moments with adventure and exploration elements. The one-on-one duels were more tactical than button-mashy, again diverging from the arcade-style norm of other platformers. You had to read your opponent’s stance, parry, and strike at the right moment. Brains over brawn. The sense of realism is ultimately what set it apart from the stereotypical platform genre of that era. Prince of Persia felt more “human,” had greater story depth, and made you think, not just react. You could argue that it paved the way for Another World, Flashback and other greats of the 90s. Mechner is one of the very few true pioneers of gaming history.

Diablo 2 Resurrected con i Frens del Cabana #Diablo x.lingyaoai.com/i/broadcasts/1RKZzBLvW…