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Finally, a couple days later, MC sends him a selfie of herself and her new phone, explaining everything. Jaeheee Can barely reply to messages herself thanks to how much work she has Thanks Jumin So when MC sees her message and doesn’t reply, she’s not too worried about it. But after a couple of days, she’s worried MC’s hurt, not busy. Starts asking around the RFA to see if anyone else has heard from her, no dice. Keeps working so she doesn’t worry, but can’t work as proficiently as usual because she can’t shake off the worrying. Won’t admit she might’ve overreacted a little, but sets aside time away from work so they can go for an extra long coffee break. CRUSHED that he couldn’t convince her to stay by his side where it was safe. Jaehee only convinces him against it when she gets MC’s address (Other than Rika’s apartment) from 707 so he can go visit her himself. Doesn’t even feel silly when MC explains what happened, just INCREDIBLY relieved. Buys her the nicest phone possible and the most protective case he can find so it doesn’t break again. Treats her to a nice dinner that night, glad to see she was okay. Maybe even a pun. He wasn’t surprised that she didn’t respond. Was his first joke really do bad to start ignoring him.

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You go, girl. “I won’t waste wine on women. I almost blew my own Dornish red out my nose. She’s not a psychopathic killer; as I commented on another thread a week or two ago, if she was going to go the way of killing Lannisters just for being Lannisters, she would have offed Jaime just to get to Cersei. At the war council, Jon was commander and Sansa (a woman, and non-combatant) challenging his plans would have been seen to undermine him. Sansa, as the truer heir to Winterfell, was at least an equal voice. Said reward was then passed down from generation to generation, ultimately allowing the ancestor’s descendants, in the case of the Umbers and Karstarks, to live in a degree of comfort, power and luxury that 99. % of the Westerosi population cannot even dream of. If Ned Umber and Alys Karstark can reap the benefits from their ancestors’ accomplishments, why shouldn’t they partake in their shame as well. She “simply” wanted them stripped of their birthright: no castle, no title, no army. They then could have been relocated somewhere else or turned into their new overlord’s bannermen and given a smaller piece of land. If anything, she immediately apologised for insulting Jon by associating him with Joffrey, as she should. Joffrey was a remarkably humiliating individual who enjoyed letting people know that whatever they said did not matter, that their thoughts and emotions were worthless. Understandable given his position but reminiscent, after a fashion, of something Sansa is all-too-familiar with.

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However, the boys and girls are all children of rejected asylum seekers. Actors: Bogdan Dumitrache, Dorotheea Petre, Elina Lowensohn, George Pistereanu Plot: The film tells, like a fable, the struggle of a young woman to protect her unborn child which she believes is a miracle, an immaculate conception. Actors: Nancy Talamantes, Oscar Torres, Leidi Gutierrez, Jose Santillan Cabuto Plot: Young Ulises falls in love with teen Sofia, even as he is forced to lure her into his family's prostitution ring. Actors: Toki Pilioko, Iliana Zabeth, Mikaele Tuugahala, Laurent Pakihivatau Plot: A young man of Wallisian origin in New Caledonia defies his father to go and play rugby in France. Living on his own on the other side of the world, he learns there is a price to pay to find success. Actors: Jeff Kober, Melinda Hill, Robyn Peterson, Jackson Davis Plot: Kristabelle, still living with her Mother cuts herself to feel alive. Her Mother, addicted to plastic surgery also cuts herself trying to maintain her youth. Actors: Berenice Bejo, Fabrizio Gifuni, Guido Caprino, Valerio Mastandrea Plot: Massimo's idyllic childhood is shattered by the death of his mother. Years later, he is forced to relive his traumatic past and compassionate doctor Elisa could help him open up and confront his childhood wounds. A tale fusing rapid-fire chamber-drama with fearless acting and relentless cinematic appeal. Actors: Audrey Tautou, Lambert Wilson, Laurent Lucas, Pierre Niney Plot: Highly influential and a fearlessly ambitious pioneer, innovator, filmmaker, researcher and conservationist, Jacques-Yves Cousteau's aquatic adventure covers roughly thirty years of an inarguably rich in achievements life. Actors: Anna Cathcart, Isaac Kragten, Millie Davis, Olivia Presti Plot: Odd squad may be shutting down due to a new team in town the Weird Team. All the previous agents come back and fight with all the new. Find out what happens next Monday August 1st at 7am and sometime in the afternoon.

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Finally, a set of eight videos (presented in pairs) measuring a speci? setup is shown to the participant. Videos were pairwise because we seek to identify which value of each setting in? ence more the perception of assertiveness individually. In this way, each participant is going to view four comparisons each of which contains two videos. Each video presents the same assertiveness questionnaire that the user ? led in with his data, but now regarding the storyteller robot’s performance. Moreover, it was asked which emotion the participant perceived in the video from the options: joy, surprise, sadness, anger and none. As already discussed, the eight videos have a di? rent robot’s setting; the ? st six settings can be seen in Table 1. Table 1. Robot’s setting for each video. These two setups were intended to represent what we believe to be a more Communicating Assertiveness in Robotic Storytellers 447 assertive robot and a less assertive robot (V7 and V8 respectively).

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0 w Mlodziezowym Centrum Kultury MAYDAY odbedzie sie Gielda plyt, filmow, ksiazek i gier czyli kolejna Gielda Kultury. Jesli maja panstwo stare plyty winylowe i CD, obejrzane filmy, do ktorych juz sie nie wraca, przeczytane ksiazki czy gry, ktore sie znudzily, to mozna je przyniesc, aby wymienic, podyskutowac o nich oraz poznac ludzi, ktorych interesuje kultura i sztuka. W budynku beda do dyspozycji stoliki do prezentacji swoich zbiorow (wstep wolny). Rowniez 30 pazdziernika, lecz o godzinie 17. 0 w sali widowiskowej Miejskiego Osrodka Kultury odbedzie sie WIECZOR Z KULTURA BUDDYJSKA: PROJEKCJA FILMU “HANNAH NIEZNANA HISTORIA BUDDYZMU”. Film, ktory zawiera wiele polskich watkow, bedzie mozna obejrzec w 30 kinach w calym kraju a w ten weekend rowniez i w Glogowie. Dokument pokazuje, ze buddyjski ideal wolnosci we wszystkich jej formach jest dzis bardziej istotny niz kiedykolwiek oraz ze nie wszystko, co tybetanskie, powinno byc uwazane za swiete. Organizatorem jest Buddyjski Osrodek Medytacyjny Diamentowej Drogi w Glogowie (wstep wolny). Gdy ten zostaje zamordowany, syn staje sie glownym podejrzanym. Poznaje Adama i Zygmunta, bylych stoczniowcow, ktorzy probuja rozkrecic wlasny biznes. Jej nieokielznany optymizm kaze jej skupic sie na nowych wyzwaniach zawodowych oraz starych i nowych przyjaciolach. Po raz pierwszy w zyciu panna Jones czuje, ze ma calkowita kontrole nad swoim zyciem. Jej spokoj burzy sie, gdy Bridget spotyka przystojnego Amerykanina Jacka (Patrick Dempsey), ktory jest wszystkim tym, czym nie jest Mark. Wkrotce okazuje sie, ze panna Jones spodziewa sie dziecka.

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Understanding how these tools effect the stories created using them would allow authors to better select tools for projects, and help developers understand the consequences of their design decisions. We present an initial exploration of this question, using a critical reflection method to analyze the process of adapting a story from StoryPlaces into both Twine and Inform 7. Our observations show that tools impact the stories created using them in ways that are not obvious when working with one platform alone. The stories produced are interactive and typically non-linear. While there are a number of established systems, digital interactive storytelling is an experimental form, with a wide variety of different platforms and writing tools available. This raises an interesting question: how does the design of writing tools impact the types of stories being written. This paper describes initial work to understand how different interactive writing platforms impact the authoring process, and ultimately shape the work of writers using those platforms. To approach this, we experimented with adapting an interactive story from one platform into two very different platforms. Our goal was to reflect on the way in which different tool affordances impacted the way in which the story was told. Storyspace represents the classical node-link model of hypertext, with hotspots appearing in the text that navigate the reader to another node. The node-link model is only one example of how to create interactive narratives (albeit the dominant one). Inform 7 also uses a world-model and rules to evaluate reader inputs, but is far more dynamic in nature than these other sculptural hypertext tools, producing an experience which is as game-like as it is hypertextual. Although rarely applied to narrative (with a proper spatial parser), spatial hypertext has influenced modern tools, such as StorySpace 3 and Twine, which embrace a graphical authoring paradigm. The impact of different data models and tools on authoring is not well explored in the literature, perhaps because it is so dif?

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And that was all before he returned to the director’s chair for In the Mood for Love (2000). Whilst difficult to describe, this beautiful little story, set in Hong Kong apartment building during the 1960’s, is about a man and a woman who move into neighboring rooms on the same day. While essentially a very simple narrative, In the Mood for Love is laced with highly nuanced acting, production design, music and cinematography that elevate it to the status of a masterpiece. Like visual alchemy, its motifs merge, synthesize and dissolve into one another with painstaking execution and finesse. Her’s from a tree picking fruit as a child laborer, while his is from a bridge in the opening sequence, doing what amounts to a suicidal stunt for an early black and white “flicker”, as he calls them. It is a spectacle portraying an elaborate story of love, revenge and betrayal, which Roy narrates to Alexandria in order to get her to obtain enough morphine for him to kill himself and propelling the central emotional arc of the story. Sometimes in obvious and slightly irritating ways. This is forgivable, perhaps, because the film is so very charming and its actors’ performances so very touching. In any case, he manages to do it with incredible beauty, powerful production design, epic cinematography and such stylistic intent that one can only forgive him. In the end, it is the story of the little girl, Alexandria that is most beautiful and it is her performance that will be remembered beyond even the enormous cinematic scope of the images. From its stark surreal beauty to its iconic plot, the imagery of The Seventh Seal is monumental, original and at times terrifying. Despite the film’s dated effects, this black and white vision, a story of a penitent medieval knight seeking redemption in a morbid game of chess has been consistently copied, parodied and analyzed since its inception. Accepting his proposition, the game then continues over the course of the narrative as Block and his squire pick up a small band of actors and other hangers-on who Bergman expertly uses to illuminate specific aspects of the human condition. It answers that question with uncertainty but reminds us that death, however, is unequivocal.

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Even though I am kind of bummed out, I am trying to roll with it. That being said, however, this is probably my least favorite so far in the series. s the story begins, Kara is back in the demon realm, having spent the past four months training with Mzatal to become stronger in the arcane. They are looking for an opportunity to get Idris back, since he has been kidnapped by the evil demon lords. Kara and Mzatal are deeply connected in just about every way. And while I am glad she has found someone she can love and trust, I am not feeling them. I don’t hate the pairing, I’m just very lukewarm about it. (She was supposed to be with Ryan, dammit. And the deeper we get into the story, the more Rowland beats us over the head with fact that that is never going to happen. Anyway, Kara finally makes her way back to earth and essentially the book is about her and Mzatal trying to track down where the bad guys have taken Idris and who the lords are working with in the human realm. The world continues to grow, with the introduction of even more new characters and deeper backstory to Rhyzkahl’s machinations on earth. Rowland also ties in elements from the previous books to build into what’s happening here, giving the events a more connected feel, which I appreciate. he best things, though, for me came in development of the characters I already know and care about. Like Zach.

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