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It’s not just that all of these questions go unaddressed (at least onscreen); it’s that we’re not getting any real payoff any longer in Jon’s character in terms of how he’s coping with being alive again, and the reluctant crusade he’s being forced to mount. But a) they don’t have the budget for that, and b) they are unwilling to trim out or down other major storylines, so we get this kind of short-shrifted treatment instead. Their writing of Sansa and her storyline always seems to come with strings attached. It can never be pure forward momentum, or strictly “good” or “honorable” or “grown-up” or “positive”. If they move her forward, they always bring her back (sometimes in the SAME episode); or things that SHOULD be viewed as good always seem to come with caveauts (i. . reunited with Jon, going to retake WF, yay. But let’s make her lie to Jon and SEEM like she’s up to something nefarious). And with there only being 3 episodes left, I’m dumbfounded as to when all of these glorious moments are supposed to happen. I think this was the first time since Margaery was introduced, that we see her showing weakness. In that scene with Loras, she was trying to be strong. But we can see her on the verge of tears when hugging Olenna. Olenna writing some letter when Cersei approched her reminded me of season 5 when Cersei was pretending to write something serious to keep Olenna waiting. For the first time this season, I enjoyed the King’s Landing scenes. I almost expected to hear a muttered “fewer” at the end of that scene. He would have sent them news at least by the time that wight attacked him at Castle Black, if not before.

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I’m not sure I buy it myself just because there are so many stories already of surprise parents. However, it has a lot of support and I do like OP’s “fighter” factoid. If you google up the theory there are a few pieces of evidence that are interesting like Gendry remembering a mother with blond hair. I too can cherry pick lines and scenes and say Jon Snow is now part of the faceless men. It would probably make as much sense and what you said. They sure have made a lot out of Gendry even though he doesn't really seem that important to the story - yet. And lots of people do seem to know that he is Robert's son; yet Cersei has never caught wind of it. I personally think Gendry is there to be with Arya so she can complete her story of learning what is really important - family. But if Gendry is going to sit on the iron throne, I think it would make more sense if he is the legitimate son of the King and Queen rather than a bastard of the King with a tavern wench. The only people that know are people that would never tell Cersei about it: Stannis, Melisandre, Jon, Ned, Davos, Tyrion, Arya, etc. None of these people are going to be talking to Cersei about this topic any time soon. Clovis tribes were tribes that had an expertise of crafting weapons from stone. Gendry is there to craft weapons from dragon glass. I think DD and GRRM have planted sufficient Easter eggs re Gendry’s parentage. While the focus over the years has been Jon’s lineage, people overlooked Gendry’s. If this is true, idk how this will unfold in six EPs.

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The sounds, music, make us come back to the past, offering us the view of a World. The sound evokes angelical moments between the imperceptible evolution of the sound of the sky and the ethnic roots, natural instrumental sounds creating atmospheres which evoke in our imaginary visions and images of the most far places. Artwork conception was created by Sara Luciani, release contain several cards and double side cover. TETHRIPPON is the chariot of Apollon Hellenic God of light. Burning like the desire of a proud man for universal harmony and beauty, it rides eternally the skies. The ones who are not blinded by arrogance or the ultimate light can verify the gentle meaning of our hymns and their noble purpose. TETHRIPPON's composing and poetry come to bring warmth to civilized and delicate hearts and a nostalgia for what is really missing from a romantic man's internal seek for an ideal world. In post-industrial terms this style is usually called ritual dark ambient, and here it is not too dark (looks like the geography has it's effect), and even unsophisticated, but diverse and tastefully enough. By the way, Sethon - man in charge of Tetraktys - also plays in a BM-band Vistkaed. TH26 offer a cerebral and aggressive music with incursions in a sort of isolationist ambient-noise. A contagious anthems for the new future of electronic industrial music. It's a sort of getaway, yet it never feels forced, and evokes just the right amount of disarming discomfort while still being perfectly accessible and interesting. This time it turned out not so dark, but more psychedelic. Floating guitar tunes drowning in sonic storm remind the late recordings by EXPO'70 and in general everything sounds quite pacifying. Combining genuinely played sitars, violin drones, guitar strums, loops, barely audible mutterings from an otherwise deserted midnight subway, electronic swirl, piano and all manner of otherworldly textures, 'Our Angels Dislocated' remains both focused and complex enough to cast new shadows with every listen. This version with new improved sound is dedicated to 10 year anniversary of the original album.

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Nixon, Vincent Baker, Seth Ben-Ezra, M. J. Young, Chris Chinn, Pete Darby, Gordon C. Landis, Walt Freitag, and Matt Snyder for comments on the first draft of this essay. All mistakes or misattributions should be considered my responsibility. This series' purposes are to clarify the original essay and to develop and incorporate insights from discussions at the Forge. This one is about Narrativist play, which is simultaneously the least and most problematic of the Creative Agendas I've described. It's incredibly easy in application, and the most difficult for discussion. In the first two essays, I began presenting an overall model of role-playing, but piecemeal and in stumbling verbal form. As of this writing, I've finished that model, and it is included here as well. It's a bit out of place, being more of a capstone or umbrella to the three essays rather than an intrinsic piece of the Narrativist one. The Threefold Model for role-playing included the term Dramatism, as presented by John Kim at his Threefold Model ( ) webpage. When I learned about the Threefold, I'd already been thinking about stuff I'd later call Currency and also about Jonathan Tweet's discussion of resolution presented in Everway. The basic notion of the Threefold impressed me: it was time to talk about goals and priorities independently of everything else, then to see whether everything else flowed to and from them. This was at the time that Sorcerer was making its small way into commerce, so the mailing list was the place for our first discussions; most of them are archived at the Sorcerer website ( ). Going by which set of ideas was first presented (Tweet's), I changed Dramatism to Narrativism.

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This comprehensive 434 page book is grouped into thirteen chapters that examine common themes in Burton’s work, from his fascination with clowns to his passion for misunderstood monsters, to his delight in the oddities of people. Many of Burton’s friends and collaborators offer their thoughts, insights and anecdotes about Tim Burton’s style and artistic approach to life. The poster was banned by Korea’s gov for picturing a priest on an obscene pose with a woman. But it didn’t stop this provoking dark tale from winning the Cannes International Film Festival’s Jury Prize 2009. Absurdly, due the mysterious blood transfusion he received, he came back from the dead. Struggling with the anomaly, things get even more complex when he encountered an awkward relationship with this dysfunctional family of his childhood friend. The attraction between Sang Hyun and Tae-Ju is inevitable. Horrify at first by the vampirism fact, Tae-Joo became indrawn into the bizzare world of quenching thirst, and lust. This leaves Sang Hyun, on the verge of the humanity left in his soul, battling desperation, obssession and the monster in both of them. The graphic gore and sex scene translated the numbness, madness and irony into an intense delirium. The only flaw was the pace at some parts tend to be too slow. The series will also be available on HBO On Demand (StarHub TV 602). If you're looking forward, you're looking in the wrong direction. The show was also nominated in the categories of: Outstanding Drama Series; Outstanding Lead Actress in a Drama Series (Evan Rachel Wood); Outstanding Lead Actor in a Drama Series (Anthony Hopkins); Outstanding Supporting Actress in Drama Series (Thandie Newton); Outstanding Supporting Actor in a Drama Series (Jeffery Wright); Outstanding Directing for a Drama Series (Jonathan Nolan); and Outstanding Writing for a Drama Series (Jonathan Nolan, Lisa Joy). Production companies, Kilter Films and Bad Robot Productions in association with Warner Bros. Television; based on the film written by Michael Crichton.


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He used the designers Gert Sellheim and Douglas Annand, whose poster work is in this collection. Other books were by Frank Hurley who published vast quantities of Australiana in the 1950s. And it was whilst looking at a book by Frank Hurley, Australia a Camera Study in the NGA research library that I had a little epiphany. The NGA library had brought the book second hand, and it had obviously originally been brought as a gift, probably by an English migrant to send back home. Still between its pages, and still probably there now upstairs in the library, were two pieces of toilet paper. On the toilet paper the original purchaser had traced his, or her, own personal, chthonic, quotidian routes and history of inhabitation. Hurley photographs were banal, rhetorical, yet another iteration of his nationalist jingoism, yet two pieces of toilet paper can turn them into personal expressions of reconnection, whilst they remain, of course, essentially propaganda images. So this interest in Hurley, and war propaganda, and Australian identity, and masculinity naturally led me to the First World War. I began to be very interested in propaganda photography, because propaganda is all about eliciting intense personal emotion, but in a collective context. I was particularly fascinated by a series of composite murals which were produced by a company called Raines and Co. I discovered that in terms of an individual’s response to the photograph, the two ideas — the true and the fake — were very labile indeed. A certain kind of affective truth can be orchestrated by a photograph. There is a real fascination with strange new industrial forms, particularly bomb blasts, by all the war photographers. She was researching an obscure nineteenth century printing technique, and I was looking through two official presentation albums of Australian War Photographs. Then I came across this page taken in the Middle East, probably by Hurley. The caption is “A wonderful cloud-like face hanging above the ancient town like a beautiful guardian angel”.