BitMEX这波上新的全是“硬货”，是准备去试下 20 倍杠杆的币圈概念股，还是想趁着 0% 利息去长线埋伏一下美股呢？币股交易手续费最低的平台： 我这里解释一下bitmex玩美股的价格优势 1.对标大所动不动年化-11%的基准利率，BitMEX 的基准利率为0，等于在指数价格附近设了中性区间，价格贴得紧就不收资费。基本实现了近似开合约0资费 资金费率 ≈ 溢价指数 + clamp(基准利率 - 溢价指数, -0.05%, 0.05%) 基准利率=交易所抽水，一般币股抽水年化是11%，但是bitmex不抽水是0. 2.BitMEX 接入了 Chainlink 预言机，美股时间抓实时行情，闭盘后抓全球代币化现货价格，的防插针双保险。和7天24小时交易 3.挂单不仅有 2.5 个基点返利，所有用户都能拿；吃单也只有 0.05%。做波段的成本直接比别人低一截。

《吻我之前，先把灯关了》 "Turn Off the Lights Before You Kiss Me" 据专家研究分析，恐怖片和爱情动作片，好莱坞惊险片都能刺激大脑分泌多巴胺，我现在把它们都放在一起了，那是不是应该双倍快乐来了。 According to expert research and analysis, horror movies, romantic action films, and Hollywood thrillers can all stimulate the brain to release dopamine. Since I’ve combined them all together, does that mean I’m in for a double dose of happiness? grok imagine prompt: "Turn Off the Lights Before You Kiss Me" 15 seconds, 9:16 vertical format, first-person perspective, recorded on a smartphone, single continuous take. [Realistic Cinematography] The footage is captured entirely by the rear-facing camera of the smartphone held by the male protagonist; no other cameras are involved. The male protagonist holds the phone in his right hand, using the primary (1×) rear lens—providing a field of view equivalent to approximately 26mm—at 1080p resolution and 30fps. The device is positioned between his chest and chin (at a height of roughly 1.45 meters), aimed toward a woman standing in the bathroom doorway. His left hand occasionally enters the frame to operate the light switch. The smartphone itself—its body, back panel, camera module, screen, or flash—is never visible in the shot. Only the light cast by the phone onto the subject, her clothing, and the walls can be seen. There are no mirrors present; this is not a mirror-based selfie. The footage retains the raw, authentic texture of smartphone video—no beauty filters, color grading, or cinematic effects. Skin details such as pores, fine beads of sweat, stray hairs, and natural skin-tone variations are visible. There is slight digital noise in the shadows, and brief motion blur occurs during rapid hand movements or moments of physical instability. Subtle camera shake stems from the holder’s breathing and wrist movements. Changes in proximity are achieved through actual physical steps or the subject pulling the holder closer; there is no digital zooming, automated panning, reverse-angle cutting, or slow motion. The focus remains primarily on the woman’s face, with only momentary hesitation when the distance shifts abruptly—there is no persistent out-of-focus effect. [Characters and Attire] The woman in the doorway (@80130fc6-f744-4f61-9faf-f630a1eb8638) is 28 years old. Her appearance—including her black hair styled in an updo, purple floral hair accessory, earrings, long-sleeved Japanese-style (wafuku) garment in purple (@d7529a1b-8cdb-41e5-816e-c59aa4051803), and dark-colored *obi* (sash)—is consistent with the video uploaded by the user. Her clothing remains intact; the neckline stays in place, and she does not scratch her own chest or tug at her garments. Leaning slightly against the doorframe, she keeps her shoulders relaxed and lowered, her neck elongated, and her legs positioned one in front of the other—creating a natural, subtle S-curve in her posture. She gazes toward the male protagonist with half-lidded eyes and a faint, inviting smile, as if beckoning him closer. From the very beginning, her right hand holds a small pinch of fabric from the male protagonist’s left cuff. This point of contact—her right hand gripping his left cuff—is situated in the lower-left portion of the frame and must remain visible. Because she is only holding the fabric rather than clamping down on his wrist, he retains the freedom to lift his left hand and operate the light switch. Initially, her left hand is concealed between her body and the doorframe. The grayish-white fingers that appear later belong to this same hand; the creature possesses only two hands throughout the entire sequence. The real girlfriend is located in the hallway behind the male protagonist. She is present only as a voice calling out from off-screen; she is never shown on camera, and no second female face appears. 【Environment and Space】 The scene takes place at the entrance to a bathroom in an old apartment building late at night. The setting—featuring aged off-white tiles, a worn wooden doorframe, a standard wall-mounted light switch, and a towel hanging inside the bathroom—conveys the lived-in, weathered feel of an old residence, rather than a ruin. The woman is positioned slightly to the right of the frame’s center, with the open bathroom door behind her. The light switch is located on the wall to the left, approximately thirty centimeters from the male protagonist’s left hand. It is visible from the start and does not suddenly appear later. Behind the male protagonist lies a hallway. The bathroom door remains open inward; the camera angle stays consistent throughout, the door does not move on its own, and the room’s layout remains unchanged. At the start, the woman’s face is about sixty centimeters from the camera. After she gives a gentle tug on his cuff, the male protagonist shifts forward slightly, reducing the distance to approximately forty-five centimeters. The distance closes further only during the final dragging motion. 【Ambient Lighting】 At the beginning, a warm-white overhead light in the bathroom is on, illuminating the woman’s head, shoulders, and the doorway, while the hallway remains dim. The LED flash on the back of the smartphone is illuminated from the very first frame; it remains on and in the same position throughout the entire 15-second duration. Up close, the face is illuminated by the harsh, direct light of a standard mobile phone; small shadows form beside the nose and under the chin, and there are localized highlights on the fabric of the clothing—no artificial "beauty" fill lighting is applied. The only light the male lead turns off is the overhead bathroom light. Once the overhead light is extinguished, the bathroom background remains dim and does not brighten on its own. The phone’s light continues to illuminate her face and the hand gripping the sleeve cuff. The camera’s auto-exposure adjusts only slightly, failing to brighten the dark bathroom to a daylight-like state. When the "mask" (the outer layer of the face) is peeled back, it is illuminated by the same mobile phone light as the rest of the face. The space deep behind the shell remains dark, and the exposed eyeball shows only natural, subtle reflections—it does not emit its own light. [The "False Face" Effect] The horror stems from a thin, pliable, artificial layer being peeled back from within—it is not a case of natural skin being torn or a mouth stretching into an impossible, elongated shape. A grayish-white hand—with only two or three fingertips visible—emerges from the corner of her mouth, hooks onto the lower edge of the "mask," and peels half of the face upward and to the side. The "mask" has a distinct thickness and flexibility; the cheek and part of the area beside the nose fold back, rather than stretching into long, tubular, funnel-like, or tongue-like shapes. Behind the peeled-back section lies a deep, dark cavity containing a normal-sized human eye, which turns to look directly at the camera. The other half of the woman’s face remains intact, establishing the premise that there is an artificial layer on the outside, with something else concealed beneath it. There is no blood, gore, exposed muscle, black ooze, or liquid-like melting effect. The grayish hand does not reach in from off-screen; its fingertips must first emerge from within the corner of the mouth. [Strict 15-Second Timeline] 0–4 Seconds | Gripping the sleeve, an invitation to draw closer. The woman leans sideways against the doorframe, looking first into the male lead’s eyes, then glancing briefly toward the light switch on the left. With her right hand, she grasps the male lead’s left sleeve cuff—positioned at the bottom-left of the frame—and gives it a gentle tug toward herself. The fabric of the cuff pulls taut, prompting the male lead to take a small step forward; the camera moves in tandem with his approach. She lifts her chin slightly and says in a low voice: “The lights are too bright.” Her tone is intimate, with a suppressed smile playing at the corners of her mouth. There is no sign of a monstrous visage, nor does she glance toward her own mouth beforehand. Her right hand continues to hold the same spot on his sleeve; she does not shift her grip to his lapel. 4–7 seconds | Flipping the switch; the background darkens The male protagonist reaches out with his left hand toward a light switch already visible on the left side of the frame. She keeps her grip on his left sleeve, causing her right arm to extend naturally as he moves—she neither lets go nor suffers any "clipping" (graphical glitching). His fingertips press the switch, producing a distinct *click*. The bathroom overhead light goes out, and the tiles, towels, and the space behind the woman grow noticeably darker. Her face remains illuminated by the fill light from a mobile phone. The male protagonist’s left hand pulls away from the switch and returns to the space between them. The camera tilts slightly with the movement, then steadies. 7–9 seconds | A warning from behind From about two meters behind the camera, the man’s actual girlfriend calls out urgently, in an identical tone: “Don’t turn off the light!” The woman in front of him says nothing; her lip movements do not correspond to this warning. As the male protagonist begins to turn, the camera shifts slightly to the side—but the hand gripping his sleeve suddenly tightens, holding him in place. Her smile vanishes. Her eyes glance past the camera toward the space behind the man, then return to the lens. Her knuckles whiten as she grips the sleeve, causing deeper creases to form in the fabric. 9–12 seconds | Half of her face is peeled back from within Two or three grayish-white fingertips emerge from the inner corner of her mouth. The fingertips hook onto the lower edge of the "shell" of her face, slowly peeling it upward and outward. The corner of her mouth and her cheek—forming a single, thin, pliable layer—fold back together; the lips do not stretch or elongate independently. Half of the artificial face is lifted away, revealing an eye in the darkness beneath that shifts to look directly at the camera. The intact half of her face remains visible alongside the eye revealed from within. For a brief moment, the camera steadies, allowing at least half a second to take in the details: Fingers emerge from within the face; the "shell" of the face begins to fold back, revealing another eye underneath. The woman’s right hand maintains a firm grip on the man’s left cuff—she cannot let go, even as she peels back the face. The only sounds are the dry, grating friction of the mask and the man’s sudden, sharp intake of breath. 12–15 seconds | The grip shifts into a forceful tug. The man immediately grabs the woman’s right wrist—the one holding his cuff—and tries to pry it away. The point of contact is clearly visible; he does not reach for the grey, peeling fingers. The creature’s right arm suddenly retracts toward the bathroom, yanking the cuff hard. The sequence must be clear: The cuff goes taut → the man’s left arm is pulled straight → his body stumbles forward → the camera (held in his right hand) is dragged closer. The camera moves from about 45 centimeters away to roughly 15 centimeters, accompanied by a sudden dip and tilt—this is not a smooth, controlled zoom. The partially peeled-back face, the unblinking eye beneath, and the greyish-white fingers now dominate the frame. The other half of the face remains "normal," preserving its original appearance. In the final half-second, the man collides with the wooden doorframe, producing a dull thud. The camera jerks to the side; the edge of the facial shell sweeps across the lens, partially obscuring the view. The recording ends abruptly while the struggle is still underway. No fade to black, no additional dialogue, and no new creatures appear. [Ambient Audio] Captured via a mobile phone microphone: close-range speech, the friction of fabric at the cuff, the sound of a light switch, the hum of a bathroom exhaust fan, the distant ambient noise of the city, heavy breathing, and the final impact against the doorframe. The exhaust fan continues to run independently; it does not stop when the overhead light is switched off. The background sounds maintain a sense of spatial distance—they are not suddenly muted for the sake of a "jump scare." The opening line, "The light is too bright," comes from the woman in front of him. The mid-sequence line, "Don't turn off the light," clearly originates from behind the man; the woman in front does not move her lips. There is no further dialogue—no sinister laughter, voice-over narration, heartbeat sound effects, or pre-recorded horror audio cues. [Mandatory Continuity] The only camera is the mobile phone through which the audience is viewing the scene; the phone itself is never visible within the frame, nor is there any additional camera operator. The male protagonist holds the phone in his right hand; he uses his left hand to flip the light switch, then immediately grabs the monster’s right wrist. The monster’s right hand remains firmly gripping the same spot on the male protagonist’s left cuff; its left hand lifts a portion of the "false face" from underneath. Do not generate a third hand, swap left and right hands, or have the monster’s hand shift its grip from the cuff to the female protagonist’s own clothing. Once the bathroom light is turned off, it remains off; the mobile phone’s light source (fill light) stays on. The positions of the door and the light switch remain fixed. Changes in distance must be achieved through physical movement (stepping or dragging); do not use digital zoom. The "false face" should be lifted, not stretched like rubber; do not generate long tongues, tubular mouths, an elongated jaw, or a melting face.

Perp需要用oracle去确定mark price，但是在PreIPO以及周末美股的场景下，没有spot price为 @tradexyz 做mark price，那它如何来做价格发现呢？ 首先，perp 和 spot 的价格，本质上不是同一种东西。 Spot 是真金白银买资产，价格背后是真实资本愿意持有这个资产的水平；但 perp 交易的是 exposure，是用保证金和杠杆表达预期。杠杆越高，价格越容易被边际情绪、短期资金和流动性结构放大。所以 perp 往往比 spot 更快，但不一定更真。 这也是为什么，在没有外部 spot 的情况下，系统不能简单地说：“perp市场交易到哪里，公允价格就在哪里。” 因为你无法判断：现在的价格，到底是真实共识，还是几个人用高杠杆推出来的局部幻觉。 @tradexyz 的核心设计，其实就是解决这个问题：如何让 perp 在没有 spot 的情况下继续做价格发现，但又不让系统被 perp 情绪牵着走。 官方自己有一句话我觉得说得特别好：“prevent price movements that exceed what may reasonably constitute true price discovery.” 翻译过来其实就是：系统允许利用perp做价格发现， 但不允许价格运动超出“合理价格发现”的范围。所以它整个 oracle 系统，是要把“市场表达”和“系统确认”拆开。 最核心的是它的 ratcheting mechanism —— 棘轮机制，市场当然可以持续给出新的价格预期，但 oracle 不会瞬间跳过去，而是像棘轮一样，一格一格缓慢移动。 具体来说： - oracle 每次 update 有单次移动上限（约 9.5%） - mark price 本身还有 ±50bp clamp - Discovery Bound 被限制在 1/max leverage - pre-IPO 合约再叠加 30 分钟 EWMA 平滑 - funding 只有正常合约的 1%，避免短期资金费率把价格进一步推向极端 这几个机制组合起来，其实形成了一套“三层缓冲”。 第一层，是市场自由交易； 第二层，是 oracle 缓慢吸收这种交易信号； 第三层，是 Discovery Bound 限制系统一次性能相信多少。 也就是说：市场当然可以认为价格已经变了，但系统只会一点点承认这件事。 这套机制最妙的地方在于，它没有天真地 fully trust perp market。因为在没有 spot 的时候，perp 本质上是一个高杠杆的 expectation layer。而 expectation layer 最大的问题，就是会自反性放大自己。 价格上涨 → 多头盈利 → 杠杆扩大 → 更激进买入 → 价格继续上涨。 如果系统对这种价格瞬间 fully trust，那 mark price 就会直接变成杠杆情绪本身，最后导致连环清算和系统性风险。 所以 @tradexyz 非常创新地设计了这一套机制：让 perp 先表达市场预期，再让系统缓慢、有边界地确认这种预期到底是真是假。 真的是一个非常高级的金融工程，我们行业创新一直都在。

.@campnetworkxyz 又新出来了小猫游戏 感觉除了 story 模块，就属这个游戏的任务出最频繁了 问了玩游戏的朋友，说是除了10天签到的任务验证不过，其他的可以过，但很花时间 还没开始玩，先大概说一下 （1）页面最下方，点击进入gifts页面 （2）再选择trailheads 兑换自己的nft （3）回到主页面，进入catnip chaos游戏，你所有的关卡就都完成解锁，据说是完成5个关卡差不多就可以拿到所有的等级任务火柴，我游戏比较烂，待我去验证🤣

Camp Network似乎女巫了很多人，我估计会是个不错的大毛，4月29日完成的一轮2500万美元的融资，有很多老牌的投资机构参，像1KX,Maven11,Blockchain Capital都参与了，投资很硬 它和MOVE活动比较类似，很多人厌恶性的把两者联系起来，认为出自于同一团队，我查了一下 @Campnetworkxyz的两位创始人@jameskchi 和 @niravmurthy都是来自加州大学伯克利分校的（这背景的也难怪迅速获得如此大额的融资） 他们和MOVE的创始人都不是一个学校的，而且两个项目的主要投资方也完全不同 看事情要去看事情的本质，不要被表面的浮萍遮住了眼睛 这个事情比较有意思： Camp收购了KOR Protocol我觉得挺有远见的，首先Camp是专注于IP自主知识产权高性能公链L1，KOR 的特性是能够大规模地实现 IP 代币化 Camp提供的IP知识产权规则化+IP代币化说简单点既能解决IP可访问性又能解决可执行性问题，完美结合

⚽️ Renaiss World Cup Campaign 即将到来。 你在 进行的 Gacha 回购活动，即将开始累计 Tickets。 使用 Tickets，为你认为能够晋级的球队投票，并争夺 20,000+ USDT 奖励。 🎟️ Tickets 累计开始：7 月 3 日 13:00（UTC+8） ⛹️ 活动页面开放：7 月 4 日 13:00（UTC+8） 距离 16 强赛，还有 4 天。 准备好。 更多详情，即将公布。

空投来了 $CAMP 空投资格检查，请于美国东部时间8月25日前注册使用你用于与@campnetworkxyz生态系统交互的相同钱包，验证是否有资格获得第1季空投 空投检查： 谁有资格： 1. 包括持有 CampTrailHeads NFT的和Summit Series激励测试网中经过验证的参与者 2. 需要支付 0.0025 E注册费才能完成空投注册， 这笔一次性费用涵盖了在 Camp 主网上启用无 gas 索赔的成本， 索赔时无需支付额外费用

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