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Actually quite happy with this picture.
I am so tired. Both physically and mentally.
I turn 18 one month from today. I'm not looking forward to it.
My parents are the reason why.
They think I'm lazy and unmotivated when it's just the opposite.
...SONUVA BITCH! (disclaimer; that's actually the only Nazareth song I know). This is "General" Jeremy Mastiff, an old OC of mine and resident SAS badass in my Bloodfall stories. Haven't seen him in a bit but that'll change down the road, don't worry. He's actually inspired/based off of Captain John Price from the COD: Modern Warfare series. I even straight-up used a screenshot of Price to draw this pic. Say what you want about COD, the first Modern Warfare was awesome.
This story actually happened. Claire is not, or ever was, the girl in this story’s name. Other than that, the events are accurately depicted as they occurred.
Claire, an only child, received this antique ring from her Grandmother on her sixteenth birthday. Just two months later her Grandmother passed away unexpectedly. From the Grandmother’s estate, her parents gave Claire a small end cabinet that her Great Uncle, a Free Mason carpenter, had made. It was here, on an old fringed Doily of her Grandmother’s, that Clair kept the antique ring when not being worn for Church or some other fancy dress occasion.
On the morning after her senior prom Clair awoke to find that the ring had vanished from the fringed doily. She definitely remembered taking it off and placing it with the expensive necklace, earrings, and bracelet set her mother had lent her to wear. Her mothers’ jewelry was still there, but not her Grandmother’s ring. The end cabinet was searched; Clair’s room was searched multiple times. The whole house was then searched, and a lost ad was even placed in the local paper. No word or trace of the ring could be found, nor its disappearance explained.
Six years later, after completing her masters at the university, Claire move out of her parents’ house and into an apartment on the other side of town. With her went the old end cabinet and the fringed doily where Clair took off and kept the jewelry she wore on a daily basis when she retired for the evening.
Four years had gone by in the new apartment when Clair received an invitation in the mail to her private girls high school ten year class reunion. It was to be held in conjunction with the same private boy’s school that her class had shared graduation with. The night before the Saturday reunion there was to be a fancy dress dance in reminiscence of her prom. On a lark Claire decided to wear the same satin gown she had worn ten years earlier. When the day before the evening dance came, she stopped at her parents to pull the gown out of mothballs. She even borrowed her Mothers jewels again to wear.
That evening Claire partied deep into the night, finally collapsing into a deep sleep on her bed without even undressing. Late the next morning she woke up, groggy and hung-over. She suddenly startled herself awake when she started to take off her jewelry and discovered it was missing. She looked over at the end cabinet and breathed a sigh of relief, their it was, all laid out, even though she had no memory of removing it. Suddenly a creeping chill ran up along her spine, freezing her on the spot. There, on the fringed doily, surrounded by her mothers’ jewels, was the antique ring belonging to her grandmother that had disappeared mysteriously ten years prior. Claire picked up the sparkling ring and examined it, her hands shaking so bad she nearly dropped it. It was her Grandmothers ring, no doubt of that. Even her mother recognized it as such, but could also offer no credible explanation for the rings reappearance!
Over twenty years have since passed. The ring, when not worn by Claire on special occasions, still spends its time on the aged fringed Doily. It has never shown any sign of going back to wherever it had disappeared to for ten years.
The Whitcraft came through! It's a beauty... Usually, when it comes to the Reds I open, My Wife usually makes this look like she ate a real tannic/rancid grape. She'll say over and over "Kap Kap! Kapkap!!"... Bern, is she crazy??
Anyways, SHE even loved this one; It's not a fruit-bomb, but it had complex, aged characteristics. Wonderful stewed Plum, warm spice aromas...Reminded me of the time my Sister took me to Paris when I was 18, still going to CIA, and took me to Taillevent. She told me to just drink water because the menu(s) she got had no prices on them.. I, in the other hand got them prices, so we sounded like a couple of accountants at that 3michelin table; "How much is Foie Gras du Canard aux Sauternes?".. 'uhhhh, like, a gazzillllion Francs'.
I digress. The wine. Well, they had the Wine list printed on their poster-like menu. It was crazy! They really don't serve great wines by the glass at the time, so my options were; A) Drink water. B) Get half bottle under a 100francs. I convinced my sister that the water tastes funny, and that we should 'live a little', so I excitedly began the process of finding our Demi bottle... Yikes! Almost every selection are way up there; 200+ Francs. I was giving up hope, when out of nowwhere, like a superhero....... The Sommelier was at our side. He gave a glance at us for a split second, and knew these baby-faced Japanese tourists have neveer EVVVVVEER been to a fine dining establishment, let alone a 3 Michelin Parisienne Restaurant. This IS TAILLEVANT, dude!( He didn't say 'Dude', obviously)
Anyways, he points with his shiny Mont Blanc pen to his winelist and gently explains to the young Asian hillbilly-kids, 'Moisseur, eh we have some Nuit St. Georges for Demi boutilles, eh Perhaps a Chinon, ah Arbois..what are you planning to have for lunch?' The first one, the St.Georgia thingy sounded familiar and atleast I could pronounce the damn thing(?!), so we ended up ordering that.
The bottle said 1985 .. I honestly can't remember the rest.. The Sommelier opens the wine gracefully, examines the mold covered cork, smells it-squeeze it... Then he passed it to us. Then he takes the wine away...??? We were staring at the molding cork dumbfounded, like a couple of monkeys looking at a unplugged playstation, wondering when it will 'start'. In the corner of the room, I see our superhero pouring a few ounces into some silver ornament( Tastevin) that he's wearing like Flavaflav. WTF? He be drinkin' our Vino!? Moments later, the Supah Sommelier with the silver bling comes back to us, besides our table with a trolly, and a big Chemistry-set-flask thing, propped up on a 45degree angle, a slanted shiny funnel, candle underneath, tweezers and cloth. My sister looked at me like to say, "WHAT DID YOU ORDER, ASSHOLE?", I give the look back, " NO IDEA-DUDE, JUST GO WITH IT!"
The Sommelier begins to slowly pour our wine through the silver funnel, all the while having a candle underneath. The time it took for him to finish this bizarre ritual seemed like an eternity! My sister and I wondered if we should start singing or clapping or what, but before we knew it, the Wineguy says 'Haaa~ Voila!".. 'Pssst. I think he's done. he said', houlaah'.
He places in front of us the BIGGEST, Tall-as-the-Eiffel wine glasses in front of us, and poured me a shot first. I waited for him to pour my sister too, afterall, SHE'S PAYING!!~(Sucker). No. He is waiting for something. ?!..???..!?!?! Without sounding like a pompous prick, but like a father, gently telling his kids not to pull daddy's moustache- it hurts,..... "Moisseur, would uuur, care to taste dux wine?" Oh. Oh, then why don't ya say so? I nervously try swirling the wine in the fish aquarium-like wine glass, but not working. Screw it. Let me 'snifff',... Oh my god! "What's in HERE??", I almost shouted out of excitement. I never smelled anything so, great- Like Cherries, jam, plum, and bunch of other aromas that I could not register in my little brain. "Iz everyzsing, okeh? It's.. Badde???", the Sommelier had a look of disbelief. "It's just smells sooo good!" Drink up ya hillbilly!, When I did. The flavors that hit my tongue just made me smile.. Unbelivable! It was soooo good! That must have been the best thing I ever tasted in my life, and it's only the Wine! The Bread, let alone the Amuse Bouche hasn't even arrived yet. "You like??".. 'I~ LOVE!! OUI'.. My sister looks at me and shakes her head, 'You're retarded'. Thanx
Loooooooooong story short, this Pinot has the same characterists as that 85 Nuit St.Georges that my sister and I shared for lunch at Taillevent in 1995. Isn't it amazing how one bottle, one taste, could transcend you back into another time/dimention?
Memories~
Smith-Fangruida Space Tunnel
A. Earth Space Tunnel-B. Lunar Space Tunnel-C. Mars Space Tunnel ------Cosmic Space Tunnel (Generalized Cosmic Tunnel, Narrow Space Tunnel, not a tunnel or ladder in general interpretation, actually refers to space Space advanced structure channel for transmission motion). The A item is the most important, the technical difficulty is great, and the investment is huge; the B. item is relatively realistic and feasible, and the space tunnel is constructed on the lunar space orbit and the lunar surface. The C item is also far away.
Large-scale space tunnel construction technology is very difficult, and even technical problems cannot be solved in a short period of time. But this is not a scientific fantasy, but a major choice for humans to enter the universe. Rocket ships are of great importance, but without the latter, it will be very difficult to enter the universe, especially the transportation of a large number of physical equipment, the transportation of astronauts, especially the transport channel. Space first tunnel, second tunnel, third tunnel, yes
Humanity has entered the universe and has revolutionized the great achievements of human history and earth history. Humans land on the moon and live on the moon for a long time. In addition to the rocket spacecraft, they need the moon space tunnel to show their magic. A large amount of material equipment and materials need to be transported by means of the lunar space tunnel, and it is kept day and night, with a large amount of transportation, and the passage can be used permanently, which greatly reduces the transportation cost, and is safer and faster than the rocket ship's repeated rise and fall. Human beings want to survive on the moon. Without such a lunar space tunnel, there are too many difficulties and troubles. It can be seen that the extreme importance of the space tunnel is no less than the calculation of the rocket and spacecraft computer. The cost of the space tunnel is much lower than that of the rocket ship hundreds of times. Humans live on the moon, and space tunnels are as important as high-speed heavy-duty rockets.
Space tunnels and cosmic tunnels are the iconic revolutions that human beings have vigorously developed outside the earth. The rocket ship flies out of the earth, and the space tunnel, the space tunnel is bound to be an extremely important channel and passage for human activities on other planets. Therefore, it will be very difficult to enter the universe. For example, Earth Space Tunnel, Moon Space Tunnel, Mars Space Tunnel, Jupiter Satellite Space Tunnel, Venus-Saturn-Mercury, etc. Human immigration to the moon, the transformation of the moon, without the huge support of the space tunnel, the hardships and costs can be imagined. Of course, the space tunnel does not simply boil down to a ladder, but is actually a more complicated system channel. Of course, it is not a physical channel, a photon channel or the like.
Flying out of the earth, the first force of the various rocket spaceships. Second, it is the space channel, the space ladder, and the space tunnel. Both are significant. Rocket technology is the first priority. The role of space tunnels cannot be underestimated. Earth space tunnels are difficult and complicated, and the technical difficulty is extremely high. The moon space tunnel is relatively easy, and the Mars space tunnel is also complicated and difficult. Some people think that it is ridiculous to realize that there is no time, even impossible, purely scientific fantasy. Others believe that the establishment of a universe tunnel will soon be realized. Both of these views are biased and wrong, and all need to be carefully considered and updated. Humans fly out of the earth, humans take off and land on the moon, take off and land on Mars, of course rocket technology first. However, if human beings really enter the universe, only rocket ships are not enough, and space tunnels need to be built. This is vital to the human and natural universe revolution. This is also the greatest creation and invention of mankind since the birth of mankind. Some people have commented that its great significance far exceeds the synthesis of 100 Nobel Prizes. In fact, it has the great revolutionary significance of opening up the world and turning the tide. The space tunnel, also known as the Smitht Space Tunnel. Hundreds of thousands of years ago, ancient human fantasy flew out of the earth on the moon. For thousands of years, humans have tried to fly out of the earth and enter the moon palace. They can only look at the stars and sigh. Now, hasn't it been realized? Is this a myth and an illusion? Therefore, with the passage of time, science and technology will lead the world and humanity. Space tunnels, space tunnels, space ladders, space gods, will inevitably appear in the universe, the moon, Mars, Jupiter, and other space. No matter how the universe evolves, the space tunnel will undoubtedly be realized.
A. Earth Space Tunnel-B. Lunaire Space Tunnel-C. Mars Space Tunnel ------ Tunnel de l'espace cosmique (tunnel cosmique généralisé, tunnel de l'espace étroit, pas un tunnel ou une échelle en interprétation générale, se réfère en fait à l'espace Canal structure avancée dans l'espace pour le mouvement de transmission). L'élément A est l'élément le plus important, la difficulté technique est énorme et l'investissement est énorme; l'élément B. est relativement réaliste et réalisable, et le tunnel spatial est construit sur l'orbite et la surface lunaires. L'élément C est également loin.
La technologie de construction de tunnels spatiaux à grande échelle est très difficile et même des problèmes techniques ne peuvent pas être résolus en peu de temps. Mais ceci n'est pas un fantasme scientifique, mais un choix majeur pour que les humains entrent dans l'univers. Les roquettes ont une grande importance, mais sans ces dernières, il sera très difficile d'entrer dans l'univers, en particulier le transport d'un grand nombre d'équipements physiques, le transport d'astronautes, en particulier le canal de transport. Espace premier tunnel, deuxième tunnel, troisième tunnel, oui
L'humanité est entrée dans l'univers et a révolutionné les grandes réalisations de l'histoire humaine et de l'histoire de la Terre. Les êtres humains atterrissent sur la lune et y vivent longtemps. En plus de la fusée spatiale, ils ont besoin du tunnel spatial lunaire pour montrer leur magie. Le tunnel spatial lunaire doit transporter une grande quantité de matériel et de matériaux. Il est gardé jour et nuit, et ce passage peut être utilisé en permanence, ce qui réduit considérablement les coûts de transport, et est plus sûr et plus rapide que les montées et les baisses répétées du navire-fusée. Les êtres humains veulent survivre sur la lune. Sans un tel tunnel spatial lunaire, il y a trop de difficultés et de problèmes. On voit que l'extrême importance du tunnel spatial n'est pas moindre que le calcul de l'ordinateur de la fusée et de l'engin spatial.Le coût du tunnel spatial est de beaucoup inférieur à celui de la fusée des centaines de fois. Les humains vivent sur la lune et les tunnels spatiaux sont aussi importants que les roquettes à grande vitesse.
Les tunnels spatiaux et les tunnels cosmiques sont les révolutions emblématiques que les êtres humains ont vigoureusement développées en dehors de la Terre. La fusée vole hors de la terre, et le tunnel spatial, ce tunnel est un canal et un passage extrêmement importants pour les activités humaines sur les autres planètes, il sera donc très difficile d'entrer dans l'univers. Par exemple, un tunnel spatial terrestre, un tunnel spatial lunaire, un tunnel spatial martien, un tunnel spatial satellite Jupiter, Vénus-Saturne-Mercure, etc. L’immigration humaine sur la lune, la transformation de la lune, sans l’énorme soutien du tunnel spatial, on peut imaginer les difficultés et les coûts. Bien entendu, le tunnel spatial ne se résume pas à une échelle, mais constitue en fait un canal système plus complexe. Bien sûr, ce n'est pas un canal physique, un canal à photons ou autre.
Voler hors de la terre, la première force des différents vaisseaux spatiaux de fusée. Deuxièmement, il s’agit du canal spatial, de l’échelle spatiale et du tunnel spatial. Les deux sont importants. La technologie des fusées est la première priorité. Le rôle des tunnels spatiaux ne peut être sous-estimé. Les tunnels spatiaux Terre sont difficiles et compliqués, et la difficulté technique est extrêmement élevée: le tunnel spatial Lune est relativement facile et le tunnel spatial Mars est également compliqué et difficile. Certains pensent qu'il est ridicule de se rendre compte qu'il n'y a pas de temps, même impossible, une fantaisie purement scientifique, alors que d'autres pensent que l'établissement d'un tunnel de l'univers sera bientôt réalisé. Ces deux points de vue sont biaisés et erronés et doivent tous être soigneusement examinés et mis à jour. Les humains volent hors de la terre, les humains décollent et atterrissent sur la lune, décollent et atterrissent sur Mars, bien sûr en faisant appel à la technologie des fusées. Cependant, si les êtres humains pénètrent réellement dans l’univers, il ne suffit plus que de roquettes, il faut construire des tunnels spatiaux, ce qui est vital pour la révolution de l’homme et de la nature. C’est aussi la plus grande création et invention de l’humanité depuis la naissance de l’humanité. Certaines personnes ont fait remarquer que sa grande signification dépasse de loin la synthèse de 100 prix Nobel. En fait, cela a la grande signification révolutionnaire d'ouvrir le monde et de renverser la tendance. Le tunnel spatial, également appelé tunnel spatial de Smitht. Il y a des centaines de milliers d'années, un fantasme humain ancestral s'est envolé de la Terre sur la Lune. Pendant des milliers d'années, les humains ont essayé de s'envoler pour entrer dans le palais de la Lune. Ils ne pouvaient que regarder les étoiles et soupirer. Maintenant, cela n'a-t-il pas été réalisé? Est-ce un mythe et une illusion? Par conséquent, avec le temps, la science et la technologie guideront le monde et l'humanité. Les tunnels spatiaux, les tunnels spatiaux, les échelles spatiales, les dieux de l'espace, apparaîtront inévitablement dans l'univers, la lune, Mars, Jupiter et d'autres espaces. Quelle que soit l'évolution de l'univers, le tunnel spatial sera sans aucun doute réalisé.
A. Космический туннель Земли-B. Космический туннель Луны-C. Космический туннель Марса ------ Космический космический туннель (Обобщенный космический туннель, Узкий космический туннель, а не туннель или лестница в общем понимании, фактически относится к космосу Космическая усовершенствованная структура канала для передачи движения). Элемент А является наиболее важным, техническая сложность велика, а инвестиции огромны, элемент Б. относительно реалистичен и выполним, а космический туннель построен на орбите Луны и поверхности Луны. Пункт C также далеко.
Технология крупномасштабного строительства космического туннеля очень сложна, и даже технические проблемы не могут быть решены за короткий период времени. Но это не научная фантазия, а главный выбор для людей войти во вселенную. Ракетные корабли имеют большое значение, но без последнего будет очень сложно войти во вселенную, особенно для перевозки большого количества физического оборудования, для транспортировки астронавтов, особенно для транспортного канала. Космический первый туннель, второй туннель, третий туннель, да
Человечество вошло во вселенную и произвело революцию в великих достижениях истории человечества и истории Земли. Люди приземляются на Луну и живут на Луне в течение длительного времени, и в дополнение к ракетному космическому кораблю им нужен лунный космический туннель, чтобы показать свою магию. Большой объем материального оборудования и материалов необходимо транспортировать с помощью лунного космического туннеля, и он поддерживается днем и ночью, с большим объемом транспортировки, и этот проход можно использовать постоянно, что значительно снижает транспортные расходы, и является более безопасным и более быстрым, чем повторяющиеся подъем и падение ракетного корабля. Человеческие существа хотят выжить на Луне. Без такого лунного космического туннеля слишком много трудностей и неприятностей. Можно видеть, что чрезвычайная важность космического туннеля не меньше, чем расчет ракеты и компьютера космического корабля, стоимость космического туннеля намного ниже, чем стоимость ракетного корабля в сотни раз. Люди живут на Луне, и космические туннели так же важны, как и высокоскоростные сверхмощные ракеты.
Космические туннели и космические туннели являются знаковыми революциями, которые люди энергично развили за пределами Земли. Ракетный корабль летит из земли, а космический туннель, космический туннель неизбежно станет чрезвычайно важным каналом и проходом для деятельности человека на других планетах, поэтому будет очень трудно войти во вселенную. Например, космический тоннель Земли, космический тоннель Луны, космический тоннель Марса, космический тоннель Юпитера, Венера-Сатурн-Меркурий и т. Д. Человеческая иммиграция на Луну, трансформация Луны, без огромной поддержки космического туннеля, трудности и издержки можно представить. Конечно, космический туннель не просто сводится к лестнице, но на самом деле является более сложным каналом системы. Конечно, это не физический канал, фотонный канал или тому подобное.
Вылетает из земли первая сила различных ракетных космических кораблей. Во-вторых, это космический канал, космическая лестница и космический туннель. Оба значимы. Ракетные технологии - это первый приоритет. Роль космических туннелей нельзя недооценивать. Космические туннели Земли сложны и сложны, а техническая сложность чрезвычайно высока. Космический туннель Луны относительно прост, а космический туннель Марса также сложен и труден. Некоторые люди думают, что смешно осознавать, что нет времени, даже невозможно, чисто научная фантазия, другие считают, что создание вселенского туннеля скоро осуществится. Оба эти мнения являются предвзятыми и ошибочными, и все они должны быть тщательно рассмотрены и обновлены. Люди вылетают из земли, люди взлетают и приземляются на Луну, взлетают и приземляются на Марсе, конечно же, в первую очередь ракетные технологии. Однако, если люди действительно входят во вселенную, только ракетных кораблей недостаточно, и необходимо построить космические туннели, что жизненно важно для революции человека и естественной вселенной. Это также величайшее творение и изобретение человечества с момента рождения человечества. Некоторые люди отмечают, что его большое значение намного превосходит синтез 100 Нобелевских премий. На самом деле, он имеет огромное революционное значение: открыть мир и переломить ситуацию. Космический туннель, также известный как Космический туннель Смитта. Сотни тысяч лет назад древние человеческие фантазии вылетели из Земли на Луну. В течение тысячелетий люди пытались вылететь из земли и войти в лунный дворец. Они могут только смотреть на звезды и вздыхать. Разве это не было реализовано? Это миф и иллюзия? Поэтому с течением времени наука и техника возглавят мир и человечество. Космические туннели, космические туннели, космические лестницы, космические боги неизбежно появятся во Вселенной, на Луне, Марсе, Юпитере и в другом пространстве. Независимо от того, как развивается вселенная, космический туннель, несомненно, будет реализован.
A。地球空間隧道-B.月球空間隧道-C.火星空間隧道------宇宙空間隧道（廣義宇宙隧道，狹義宇宙隧道，並非一般意義上解讀的隧道或天梯，實際上是指在太空中傳輸運動的空間高級結構通道）。 A項最為重大，技術難度極大，投資巨大；B.項相對比較現實可行，在月球空間軌道和月球地面建造的空間隧道。 C項也比較遙遠。
大規模空間隧道建造技術，難度都很大，甚至短期內不可解決技術難題。但這並非科學幻想，而是人類進軍宇宙的重大選擇。火箭飛船固然十分重要，但沒有後者，進發宇宙將是十分艱難的，特別是大量的物質設備輸運，宇航員的輸運，尤其需要這種輸運通道。太空第一隧道，第二隧道，第三隧道，是
人類進發宇宙的神梯神道，改變人類歷史和地球歷史的偉大創舉。人類登陸月球，在月球上長久生存，除了火箭飛船，就需要月球太空隧道大顯神通。大量的物質設備和材料等都需要藉助月球太空隧道來輸送，而且日夜不停，運輸量極大，通道可以永久使用，極大地降低了運輸成本，而且比火箭飛船反復起落要安全迅速。人類要在月球生存，沒有這樣的月球太空隧道，困難和煩惱就太太多了。由此可見，太空隧道的極端重要性，並不亞於火箭和飛船電子計算機測算表明，太空隧道的成本低和運量大遠遠超過火箭飛船幾百倍幾千倍。人類在月球上生存，太空隧道和高速重載火箭一樣重要。
太空隧道，宇宙隧道，是人類在地球之外大力開拓的標誌性革命。火箭飛船飛出地球，而宇宙隧道，空間隧道就必然是人類在其他星球活動的極其重要通道和通路，捨此，進軍宇宙將是十分困難的。比如，地球空間隧道，月球空間隧道，火星空間隧道，木星衛星空間隧道，金星-土星-水星等等。人類移民月球，改造月球，沒有太空隧道的巨大支持，付出的艱難和代價可想而知。當然，太空隧道並不簡單歸結為天梯之類，實際上是比較複雜的系統通道通路。當然也不是所謂物理通道，光子通道之類。
飛出地球，首推大力士各種火箭飛船。其次，就是太空通道，太空天梯，太空隧道。二者意義重大。火箭技術是首要。太空隧道作用也不可低估。地球空間隧道比較艱難復雜，技術難度極大，月球空間隧道相對而言比較容易，火星空間隧道也比較複雜艱難。有人以為，實現遙遙無期，甚至不可能，純粹是科學幻想，荒唐可笑；也有人認為，建立宇宙隧道很快就會實現。這倆種觀點都是偏頗的錯誤的，都需要認真思考和更新。人類飛出地球，人類在月球上起降，在火星上起降，當然火箭技術第一。但是，人類真正進入宇宙，僅有火箭飛船還不足夠，需要建造太空隧道，這對人類和自然宇宙革命至關重要，絕非兒戲。這也是自人類誕生以來，人類最最偉大的創造和發明。有人評價說，它的偉大意義遠遠超過100個諾貝爾獎的綜合。事實上，它具有開天闢地，扭轉乾坤的偉大的革命性意義。太空隧道，也就是Smitht太空隧道。幾萬年幾十萬年以前，古人類幻想登月飛出地球，幾千年以來人類試圖飛出地球，進入月宮，只能遙望星空，長嘆而已。如今，不已經實現了麼。這難道是神話和幻覺麼？所以，隨著時間的推移，科學技術必將引領世界和人類。太空隧道，宇宙隧道，太空神梯，太空神道，必然會出現在地球，月球，火星，木星衛星，等宇宙空間。不論宇宙如何演變，太空隧道都會毫無疑問的實現。
Actually today's dime is a dollar which I willingly gave and the asker also let me shoot his helpers.
Actually, this is my most popular creation! I love the battle scene of Anakin VS Obi-Wan Kenobi on Mustafar (from episode III) so I've decided to recreate it. If you look closely, you will notice that I've realized the lava by using a lot of trans-orange crystals (piece no. 11127). I've built it for a contest on LEGO Ideas, you can find the contest entry here: ideas.lego.com/challenges/4d014f20-329d-4cae-9f28-4319879...
"Designing Mobile Games That Actually Get Kids Mobile
Nis Bojin, Ph.D. | Senior Product Designer, Zeros 2 Heroes Media
Location: Room 2001, West Hall
Date: Monday, March 2
Time: 11:15am - 11:40am"
Actually I wasn't stalking. I was there and this guy was there at the same time. He left his cell phone on top his truck and was calling freinds tryng to track it down. I don't know why he felt the need to be undressed.
a big ugly dumpster is not the first thing you want to see when you open your front door, but since they're rehabbing the building across the street I guess we'll have to live with it.
actually a jackrabbit - Bowling Green is hopping with rabbits - have seen more here in a year than in my lifetime
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
Better Versions of what I already had up. Several people asked for them. :)
Shown here are two versions of the Jewelry box with the open pink (coral) one having a chibi Sailor Moon on the top as the featured character (which can be seen through the open lid.
Inside are the enamel rings and pins which is something I finally figured out what to do after having put them all on my fingers. Up till then I'd been finding it impossible to get a picture of the rings since being round they didn't want to stay where I put them. This worked well as it shows just how roomy a small box can be.
There is a Jupiter ring that seems to want to be on her own... Mercury went looking for her elsewhere in my stream.
Also shown here in the bottom of the open box is a lapel pin of Rini, (Chibi Usa) and in the top left is a Sailor Mercury candy premium from Morinaga Caramels.
~~
All these (and more) need new homes as I'm going to a different country for an extended stay soon so send me a Flickr Mail message (access through the arrow that appears near my profile photo when mousing over it) if interested.
Actually there were a group of five running around chattering to themselves - never stopping !! Seen near Malibu Lagoon, Malibu CA.
Actually, many, many more times blessed. But I do, in particular, feel incredibly blessed to live in a home graced by these two beauties.
I've written accolades about sweet Vidalia's amazing personality already. She is simply amazing at welcoming and socializing the rescues that come and go from our home, but today as I watched Vidalia, Curio, and Pandora enjoy a group bath in the sun, I knew I hadn't said enough positives about the remarkable Curio. Curio also welcomes others, and he will happily bathe anyone presenting a body part in front of his face. Sure, he is a bit of Stinker the way he likes to entertain himself at the expense of the older ladies, but Curio really isn't interested in heirarchy. He's more of a 60's cat, fun-loving and carefree. And Curio will happily cuddle with anyone.
Our multiple-critter home runs beautifully, in part, due to these two beauties.
We are so very blessed.
[SOOC, f/2.8, ISO 100, shutter speed 1/250, -2/3 EV]
Actually it turned into a heavy rain before I got home. I was almost finished, but decided it would have to do. The trees on this side of the street are all gone, the new brick sidewalk is done and the awnings on the front of the stores are back. A new brightly colored front adorns each building and new light poles are up. The owners of the block across the street have cajoled the city fathers and their trees will not be cut, but I wonder what all of the digging is going to do to the root systems. Will they live? I'll let you know.
Actually, it just goes to prove that alligators really aren't green but they give it their all. Covered in duckweed - and smiling about it.
Actually this is just a common merganser.....a tad green because of the reflection off of the pond and trees.
E3172 Alstom Heritage (actually it should really be English Electric or Vulcan Foundry Heritage rather than some pseudo-French name) passing Carpenders Park with an evening working to Euston in September 2003.
NJ123
Actually waiting for Mental As Anything to come on stage at the local fair.
This happens Too Many Times :-)
All the old boppers were there in the GROOVE.
There's some other shots below.
Bottle Challenge
Love Actually (2003)
Un film di Richard Curtis. Con Hugh Grant, Liam Neeson, Colin Firth, Emma Thompson, Alan Rickman, Keira Knightley, Martine McCutcheon, Bill Nighy, Rowan Atkinson, Denise Richards, Billy Bob Thornton, Elisha Cuthbert, Rodrigo Santoro, Laura Linney, Martin Freeman.
This isn't actually Gal Gadot.
What? Really? You were pretty sure about that to begin with?
The Mezco One:12 line is a relatively new toy line, popping up in recent years as a response to the various 1/6 figure companies becoming more and more expensive. Most of them retail for $80 USD, though of course there are probably come con exception.
Now, through the years I've read reviews of various figures, but never bought any due to the fact none of the characters were particularly appealing to me, and I had missed the Armoured Batman from the BvS movie.
I had ALMOST actually bought Wonder Woman here over Christmas during the Boxing Week sale at the Silver Snail, but held out, thinking that my $100 + tax would be better used towards what I thought was going my inaugural analysis, Hela, which still hasn't materialized yet.
Mezco, as far as I'm aware, is an American company. I don't typically purchase American toys, with the exception of Transformers, so I had no idea what to expect, though I know enough that in general that my expectations should be tempered as compared to Figma, Figuarts, or even the Storm Collectibles stuff.
At any rate, enough preamble - lets get on with the show. As this is my first One:12 product, I'm going to be whining about everything.
So the exterior box is shipped protected by various plastic tags and sheets to protect against scratching. The actual packaging itself was fairly functional, consisting of an inner windowed box with a slip cover. Graphics are clean and bright, though somewhat simplistic compared to the Hot Toys, Medicom, hell even the Figuarts and Figma boxes, though that glossy image of what I think is the Mezco logo is quite nice.
Actual cardboard is pretty average quality, being fairly lightweight with a natural matte finish. I understand that the convention exclusives and other more uncommon figures come in a metal tin, which reminds me very much of those metal tins you get Mooncakes in.
The actual contents of the box are mostly spelled out on the back of the box: the figure, an alternative head, four additional hands, coiled and uncoiled lasso, her Godkiller Sword, her shield, a base with arm for dynamic posing, as well as a Figma styled plastic bag for holding the various loose goodies in.
Actual cardboard is pretty average quality, being fairly lightweight with a natural matte finish. I understand that the convention exclusives and other more uncommon figures come in a metal tin, which reminds me very much of those metal tins you get Mooncakes in.
The actual contents of the box are mostly spelled out on the back of the box: the figure, an alternative head, four additional hands, coiled and uncoiled lasso, her Godkiller Sword, her shield, a base with arm for dynamic posing, as well as a Figma styled plastic bag for holding the various loose goodies in.
The figure is, as one would guess, a 1/12 figure, putting it roughly 6 inches high. The only other competition the Mezco figure has is that Mafex BvS Wonder Woman that I picked up last year. I'll make this as painless as possible - with the exception of one factor, albeit a very important one, the Mezco destroys the Mafex I own.
Off the bat, I'd like to note that with the exception of the very fine detailing on her face and maybe some smaller metallic features, the overall paint work is actually pretty good. No areas where overspray caused me to gawk, nor was there any areas with obviously poor masking or line work, though I will admit that the lines on her bracers come awfully close. Her skin tone is a bit on the bronze side, which can make photographing her using yellow lighting challenging.
It goes without saying that the work here is significantly better than that of your Marvel Legends figures, and probably even the Black series stuff. Of course, these do cost almost 4 times as much.
Her sword is seems about the right length and girth, but the shield is definitely smaller than what the prototype picture on the box itself shows.
Grasping hands were all of a soft rubber which is easily malleable, allowing for easy manipulation to hold the sword without fear of constant breakage. Fingers look kind of muddled on these hands, and there are concerns on my mind about overall longevity of painted rubber parts (i.e. the split head on my Microman Chun Li) but only time will actually address that.
One of the key selling points of the One:12 line are the tailored outfits that the characters wear. Wonder Woman, unfortunately, really only has fabric skirt, and as such, much like the Hot Toys version, her armour is a moulded and painted piece of plastic.
The bracers and her leather strap are separate pieces, which is nice. I couldn't find any instructions included with my figure, so I'm guessing they never made a way for you to actually strap the shield and her sword to her back.
Her lassos are functional, though to be honest i didn't play around with the uncoiled one at all.
The box proclaims over 30 points of articulation. I didn't bother counting them because my point is this - it certainly didn't feel like there were that many. Her outfit effectively removes the waist as a point of articulation, nor are there any any ab crunch options. Shoulders do not collapse, which basically makes doing the cross armed pose impossible. Legs can at most be raised 90 degrees from a vertical position thus making kneeling poses with the figure very unnatural looking. Similarly, crossing her legs isn't happening either, making more stylish or elegant poses very hard to pull off. Thigh swivel joints are quite unsightly.
Now that I think about it, the elbows didn't bend more than 90 degrees either.
All in all, the various other high end 1/12 ish Wonder Woman figures offer better articulation than this one. I'm hoping this body is not the base one used for their various figures, but rather like the Hot Toys seamless body, one they developed specifically for Wonder Woman. But looking at preview pictures for all of the other One:12, articulation may be limited like this for all of their product.
While we're on the subject, if this is a custom body, then Mezco needs to improve the silhouette a bit, and really improve their game on the muscle tone, particularly on the arms and her back.
We now come to one of the greatest points of controversy for this figure, the face/head. From what I have read, release of this figure was significantly delayed due to Mezco fiddling with the heads, and many accounts I read said the final product was a marked improvement over the prototypes. Some even claim that the sculpt looks exactly like Gal Gadot.
Hence "This is not actually Gal Gadot".
No matter which way I stare at it, I honestly don't see any aspect of her at all in any of these, and still stick with my original analysis of "she looks like Olivia Munn".
Another hot topic is "why the hell does she look like she has chipmunk cheeks?". Several factors.
First off, to my eye, the base of the back of the neck for the default head sculpt is way too thick, and as such, this serves to widen her already problematic face. To my eye, the back of the neck on the alternate sculpt (one where she has no bangs) is slimmer in this area which helps to given a more streamline look.
Secondly, the sculptors really didn't emphasize her cheek bones that well. It's there, but you really need to have the light shining the right way for them to appear. Because these cheek bones are not emphasized, her jaw looks like a continuation of a blob that starts from her forehead. I also feel a dash of contouring paint apps would have helped with this issue, and allowed for easier photographs.
Sculpting of the hair is pretty good, but I think they missed an opportunity to have one sculpt feature a head of hair that is blowing sideways as opposed to having one that is all behind her head.
So that was my first foray into the One:12 line. A bit of a mixed bag, with my real disappointment being the surprisingly limited articulation, particularly given what Figma, Figuarts, and Mafex figures can do at a slightly smaller size. I'm going to wait for Hela to tell me how good their tailored costumes are, and hopefully see why people are highly excited about these products.
Actually shot through the coach window on way back to airport - pity as day before was wet and cold....
Actually the edge of a puddle on a muddy track but put me in mind of an arial view of the West coast of Scotland!