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The pulse goes off without a problem and a quick test with one of the firearms confirms the success. That’s one problem dealt with. With the threat of these weapons dealt with it’s time to turn my attention towards dealing with the last members of the Crimson cult. Since I’ve placed a tracer on the leader I can track him down once I’m done here, but if I can get the names of the ones in masks then I can put the nail in the coffin once and for all.
As fortune would have it I have just the means of getting the names, and it’s with a little help from Santa Prisca. I grab hold of the semi-conscious mercenary and throw him across the room. According to Alfred these men are trained to resist most forms of torture, or at least they were during Alfred’s time in Santa Prisca. Either they’ve become laxer on their training since then, or I’m more skilled at torture than the British secret service. I’d like to think it’s the former than the latter. If only because it’s worrying to consider that I’m more terrifying than a government sponsored intelligence agency.
”Here’s how things are going to go. You’re going to give me the names of all the attendees here tonight, and then you’re turn yourself over to the GCPD.”
” No te digo nada.”
”Sí. Vas a.”
”¿Me entiendes?”
”Si. Now, the names.”
He says nothing. Why do they all choose to try and resist at first? Surely they know by now just how far I’m willing to go in order to get what I want. I step on his head, forcing his face into the ground. I keep his face pressed against the ground for about thirty seconds. Not long enough to do any serious harm to him but long enough to make it difficult for him to breath before I release the pressure.
”You’re not the first of your kind that I’ve forced information out of. You’re not the first one to resist either. But no matter what you might think, you’re going to tell me what I want.”
I slam my foot down on his back and grab hold of his left arm. It always comes down to breaking an arm before they even consider squealing. I suppose it’s a case of until you make the first move, your threats are only words. Unfortunately for him, unlike most I’m more than willing to act on my words.
”Have it your way.”
Within seconds of saying those words, I break his arm. Most people choose to break an opponent’s arm slowly, drawing out the pain for a prolonged period of time to make them suffer. I’m more of a surgeon, choosing a quick precise strike to deal with them. Not to mention that it forces them to experience all the pain in one sudden rush. Hell, I’d consider talking if I was forced to endure that amount of pain.
”ARGH!”
”The names! Or I break the other one!”
”¡No lo sé!”
An obvious lie. The second most common trick encountered when interrogating someone against their own will. They’ll lie the first time they give an answer. How quick they are to lie indicates how far you’ll have to go to force the truth out of them though. I suppose the one benefit of these mercenaries is that because they’re so unwilling to confess you can always trust most the stuff they say. For all I know he may well have just told me the truth, but the only way to be certain is to go further.
I take a moment to lift his torso up off the ground and forcibly remove his body armour. What exactly I intend to do with his exposed torso, I’m not entirely sure but neither does he and that’s to my advantage. The broken arm will make him fearful, and the fearful always imagine situations to be worse than what they actually are. Highly beneficial if you're the interrogator.
”What are you doing? Stop! Please!”
”I’ll stop when I have the names.”
”I’m telling you I don’t know who they are!”
Without saying another word, I grab hold of his other arm and get ready to break it once again. I have no intention of breaking it, but he doesn’t need to know that.
”So be it.”
As soon as I say those words he begins to cry.
He’s telling the truth.
He doesn’t know who they are.
Damn it.
”I SWEAR I’M TELLING THE TRUTH!”
I let go of his arm, much to his relief.
”I know you are.”
I walk away and begin to load up the remote tracking live feed from the batcomputer. The two masked strangers might have escaped but I can at least take the leader out of play. The mercenary groans as he attempts to lift himself up off the ground.
”Do yourself a favour, hand yourself over to the GCPD when they get here. If you’re not here when they arrive, I’ll come looking for you and this time I won’t be so nice.”
With that I remove my grapple gun from its holster and exit the penthouse through the penthouse.
”Alfred.”
”I trust you had fun crashing another party, Master Bruce.”
”Certainly less eventful than the last.”
”So I hear. Master Timothy said the last two Santa Prisca mercenaries were at this rally. I trust you had fun giving them Gotham’s kind regards.”
”Naturally. I managed to plant a tracker on the leader as he was fleeing the rally after I made my entrance.”
”Feeding the signal’s co-ordinates to the batwing now. Looks like it’s on the move.”
”Current location?”
”29 Scala road.”
”Further into the slums.”
”The batwing is on it’s way.”
”No, that’s unnecessary Alfred. Whoever this guy is, he’ll be on edge after what just happened. It’s better if I approach the old fashioned way. Last thing I want is to give him a tip off.”
”Very well Master Bruce.”
”Tim still there?”
”No, he said you gave him the night off.”
”He go anywhere interesting?”
”The local fair with Miss Brown I believe.”
”Glad to hear.”
”I trust you’ll want me to make a call to Commissioner Gordon?”
”It’s his night off, Alfred. We’ll have to do it the old fashioned way.”
”An anonymous tipoff to the GCPD?”
”From a very concerned citizen.”
”I suppose we’d better hope I can still pull off my finest American accent.”
”I’m sure you’ll manage Alfred. Good luck.”
”Keep me posted Master Bruce. Pen-7 out.”
This is a concept I dreamed up about people that solve problems all day, people issues, technical issues. Spending your whole day solving problems! This is how I feel most days! hence the epitome of puzzles.. behold the Rubix breakfast! Solving problems from the moment you wake!
copyright: © FSUBF. All rights reserved. Please do not use this image, or any images from my photostream, without my permission.
So this has been happening to my leg pieces when I try to change out hip pieces. Do you guys have any suggestions to remove these pin things
I was having some problems with the auto focus on my camera. Luckily it was still under warranty. It turned out to be just a kitchen knife on my sensor.
A couple more shots from the night of knife throwing in my kitchen.
Strobist: straight from the camera. the knife is really flying. 1 shoot through cam left, 1 bounced cam right, 1 gelled to BG(poor coverage), and 1 cam mounted for the front of the knife. Timed the toss with the timer.
Blue Reincarnation Narcissus by Jaisini
The theme of Narcissus in Paul Jaisini’s “Blue…” may be paralleled with the problem of the two-sexes-in-one, unable to reproduce and, therefore, destined to the Narcissus-like end. Meanwhile, the Narcissus legend lasts.
In the myth of Narcissus a youth gazes into the pool. As the story goes, Narcissus came to the spring or the pool and when his form was seen by him in the water, he drowned among the water-nymphs because he desired to make love to his own image.
Maybe the new Narcissus, as in “Blue Reincarnation,” is destined to survive by simply changing his role from a passive man to an aggressive woman and so on. To this can be added that, eventually, a man creates a woman whom he loves out of himself or a woman creates a man and loves her own image but in the male form. The theme of narcissism recreates the ‘lost object of desire.’ “Blue” also raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity.
There is another story about Narcissus’ fall which said that he had a twin sister and they were exactly alike in appearance. Narcissus fell in love with his sister and, when the girl died, would go to the spring finding some relief for his love in imagining that he saw not his own reflection but the likeness of his sister. “Blue” creates a remarkable and complex psychopathology of the lost, the desired, and the imagined. Instead of the self, Narcissus loves and becomes a heterogeneous sublimation of the self. Unlike the Roman paintings of Narcissus which show him alone with his reflection by the pool, the key dynamic in the Jaisini’s “Blue” is the circulation of the legend that does not end and is reincarnated in transformation when auto-eroticism is not permanent and is not single by the definition.
In “Blue,” we risk being lost in the double reflection of a mirror and never being able to define on which side of the mirror Narcissus is. The picture’s color is not a true color of spring water. This kind of color is a perception of a deep seated human belief in the concept of eternity, the rich saturated cobalt blue.
The ultra-hot, hyper-real red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Paul Jaisini realizes the harmony in the most exotic colors combination. While looking at “Blue,” we can recall the spectacular color of night sky deranged by a vision of some fierce fire ball. The disturbance of colors create some powerful and awe-inspiring beauty.
In the picture’s background, we find the animals’ silhouettes which could be a memory reflection or dream fragments. In the story, Narcissus has been hunting - an activity that was itself a figure for sexual desire in antiquity. Captivated by his own beauty, the hunter sheds a radiance that, one presumes, reflects to haunt and foster his desire. The flaming color of the picture’s Narcissus alludes to the erotic implications of the story and its unresolved problem of the one who desires himself and is trapped in the erotic delirium. The concept can be applied to an ontological difference between the artist’s imitations and their objects. In effect, The Jaisini’s Narcissus could epitomize artistic aspiration to the control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype.
Paul Jaisini’s “Blue” is a unique work that adjoins the reflection to reality without any instrumentality. “Blue” is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of the desire between Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes, but not for the purpose of creating a hermaphrodite. The case of multiple deceptions in “Blue” seems to be vital to the cycle of desire. Somehow it reminds one of the fate of the artists and their desperate attempts to evoke and invent the nonexistent.
“Blue” is a completely alien picture to Jaisini’s “Reincarnation” series. The pictures of the series are painted on a plain ground of canvas that produces the effect of free space filled with air. “Blue,” to the contrary, is reminiscent of an underwater lack of air; the symbolic meanings of this picture’s texture and color contributes to the mirage of reincarnation.
“Blue Reincarnation” (Oil painting) by Paul Jaisini
New York 2002, Text Copyright: Yustas Kotz-Gottlieb
ALL RIGHTS RESERVED
Side.
Problem is, the Doll's technology was very alien for the people on the planet, and the modifications were very limited. It managed somehow to be recognized as a racing mech, but the results were less than desirable and it ended always in last positions, bringing even more troubles to Margaret.
With her family having risked everything in the chance of the girl succeeding and near of losing their home, the last hope comes from the titanic humanoid aliens that have appeared in the planet - Aigara and her sisters.
No es un problema para mi...Es un problema para ti
algÚN problem? O no problem?
Parque de los estudiantes
cali
c-c
Been working on a spring swing coat for Skipper. There were many problems to fix including this shoulder seam problem. Once side matched up perfectly the first time. I had to do the second sleeve over twice to get it to line up.
more pics to follow of Skipper's new coat
With new wheels come new problems!
For the redesign of my Ivatt Atlantic I have to test the chassis another time. Again I use blind drivers in the middle which worked for my earlier version so I have no doubts it will work here as well.
New problems:
- the running-surface of the 3D-printed XXL wheels is thinner than that of the BBB XL wheels (just like Lego's blind drivers are thinner to make room for the flanges of the other wheels) which means the mechanism will have to be more precise to keep the wheels on the tracks in curves
- with the drivers being bigger the distance between the drivers' axles is bigger too. To keep the distance to a minimum though it's uneven and instead of 6 stud's it's 6 1/2 studs. With some tricks here and there this shouldn't be too much of a problem though.
The redesign made it necessary to have all wheels (tender and engine) 3D printed. So this engine (if it will be done some day) will only be possible thanks to this technology :)
Please give attribution to 'ccPixs.com' (and point the link to www.ccPixs.com). Thanks!
Social Media: www.seywut.com/Chris
No checkout lane soda
Edwardsville, PA. February 2020.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
Man with the plan: Joe Edelman
Photographer: Justin Bonaparte
Copyright 2019 by Justin Bonaparte. All Rights Reserved.
© All rights reserved
Info:
Model: Anita
Make-up artist: Dóra Vízhányó
Assistent: Ágnes Vincze
No logos or pool graphics in the comments please. Thanks.
Maybe there is someone lucky out there
Maybe there is someone stupid out there
BUT
im sure that there is someone learn his lesson
High buses and low bridges don't mix. Our Victorian ancestors were surprisingly generous with railway bridge headroom on the whole, considering that at the time the only vehicles traversing the highways were horse-drawn carriages and carts. But with such an extensive rail network, we were still left with a legacy of many low bridges around the country especially in more rural areas.
As motor buses became more popular and double deckers came into widespread use, this became a problem. Even after the development of the revolutionary Leyland 'Titan' in the late 1920s, a typical double decker was (and indeed, still is) around 14 feet 6 inches. A fot could be reduced by adopting the 'lowbridge' layout, with the upstairs gangway moved to the side of the bus and lowered over the offside seats. But this was very inconvenient for conductors and passengers and led to many bumped heads below that sunken gangway.
In the late 1940s, Bristol developed the 'Lodekka', a new chassis with specially lowered components and in particular a rear axle that wasn't a straight pipe, but had a 'dropped centre' so the lower gangway could be lower. As a nationalised company, Bristol was unable to sell their model to private bus companies; but they could license the design, and they did so - to respected but small bus builders Dennis of Guildford who called their version the Loline.
Other companies brought out rivals including AEC which created the Renown, a similar chassis to the Lodekka. But by the time these models got going attention was turning to the new generation of bus model like the rear-engined Atlantean, so these front-engined low height buses didn't sell in the thousands that their makers had hoped.
The North Western Road Car Company of Stockport had many low bridges in its area, and quite a lot of lowbridge buses, so it was keen to try the new low height models and bought both Dennis Lolines and AEC Renowns. We can see one of each here - Dennis Loline on the left, and AEC Renown on the right.
North Western got good use out of their low height buses but then along came the Daimler Fleetline and that was that - no more front-engined buses. Fortunately one Loline survives, number 872, in private preservation. Meanwhile the Museum of Transport Greater Manchester has both a 'lowbridge' bus, number 224 of 1948; and one of the rear-engined Fleetlines that swept away the older types, number 174 of 1965. If you'd like to know more about the Museum of Transport Greater Manchester and its collection of vintage buses, go to www.gmts.co.uk.
© Greater Manchester Transport Society. All rights reserved. Unauthorised reproduction is strictly prohibited and may result in action being taken to protect the intellectual property interests of the Society.
˗ˏˋ ★ ˎˊ˗ PROBLEM INK ˗ˏˋ ★ ˎˊ˗
Problem Ink - Waifu Jacket
- Optional Letters with Fatpack
- 7 SINGLE COLORS
- MATERIALS ENABLES
- 12 COLORS + HUD CUSTOMIZABLE WITH FATPACK
- CUSTOMIZABLE BY PARTS
- BODYS: LEGACY, REBORN & WAIFY, LARAX
. MP: marketplace.secondlife.com/en-US/stores/205044
. LM: maps.secondlife.com/secondlife/CUBA%20DE%20TODOS/171/209/29
•——————•°•✿•——————•
❁✿❀ VENUS TATTOOS ❁✿❀
✿ VENUS "BAD GIRL" NECK TATTOO
❁ UNISEX
❁ All BOM Mesh
❁ Fresh, Faded & Old
જ⁀➴ LM: maps.secondlife.com/secondlife/Sintaire/223/12/1000
જ⁀➴ MP: marketplace.secondlife.com/en-US/stores/257524
•——————•°•✿•——————•
💅🎀 NAILS PASION 💅🎀
💅 Nails Passion - Vega - addMe
- Nails Almond Short with pbr effect
- Realistic Nails
- Compatible with Legacy - Reborn -Lara & LaraX - Kupra & Kups - Erika bodies.
marketplace.secondlife.com/p/60-90-Marketplace-by-HW-Nail...
MP: marketplace.secondlife.com/en-US/stores/179607
LM: maps.secondlife.com/secondlife/Tortoise%20Distric
•——————•°•✿•——————•
It's a fairly common problem among the stainless steel Phicens that the left wrist peg comes loose, so much so that you'll pull the wrist peg out of its socket while popping hands off the figure. Someone on a Phicen Facebook forum said the root cause was that the wrist peg had come loose from its socket and needed to be re-seated.
With this in mind, I peeled back the skin of a Phicen that had a loose left wrist peg and saw this. The socket for the wrist peg has a split design that clamps onto the wrist peg and holds it in place. If it this socket pulls loose, the two sides of the clamp don't engage and the wrist peg pops out.
Take a look at how much of the wrist socket is exposed from the metal tube that's containing it. This is the "Before" shot.
A bit outside of its usual territory! It is questionable as to whether a vehicle of this size will be able to operated on this route, as I believe there have been a few teething problems regarding fitting it round the streets today, especially around the Thornwood/Broomhill areas!
"What's your pleasure Doc? asks Joe the landlord.
"No time for that" interrupted the Doctor, "Have you seen Mr. Redbox anywhere?"
"No Doc, sorry. He hasn't been in for a while."
Look Guys...You all look like that you have a problem to share......And goodness me......Don't for one moment think I don't know that we have no windows or doors in our new house....Never mind a carpet on the floor......But look on the bright side........ We do have a roof over heads with some fitted benches for seating and a beautiful view to our back yard......And let's not forget that with this size property there will be a lot less housework for you to do......Leaving you much more time for you all to enjoy my guitar playing and singing....What do you mean.....That is the problem!!!!!!!!!!!!!!!!!! .
.
PS On a serious note....Halo would like you to know that if you could see just a bit further to the next field.....You not only see sheep ready for lambing ......But the field after is Silverstone....The home of British motorsport......
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Sorry, couldn't resist the play on words. This is the view from atop the Reichenbach Falls.
[Spoiler alert!]
Here, on 4 May 1891, the world-famous fictional private detective Sherlock Holmes fought his erstwhile arch-enemy Professor James Moriarty, the 'Napoleon of Crime' and they plunged to their deaths from approximately where I stood to take the picture. Or at least that's the story in Sir Arthur Conan Doyle's book, 'The Adventure of the Final Problem'.
The Falls are a series of waterfalls on the Reichenbach stream in the Bernese Oberland region of Switzerland. They have a total drop of 250m. At 90m, the Upper Reichenbach Falls is one of the highest cataracts in the Alps (you can see a link to a more conventional view below). Today, a hydro-electric power company harnesses the flow of the Reichenbach Falls during certain times of year, reducing its flow.
Seen in early June 1990, this image is scanned from a negative.