Reebok The Freestyle Hi Femme Fatale in Alpine Chic White & Pure Silver,Sneakers for Women Reviews

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You are in a graveyard– it’s not spooky or menacing, just a calm park with gravestones, accentuated by the chirping of insects and the rustling of the breeze. You play an old woman. She walks with a limp. You walk to the center of the graveyard where there is a bench. You sit down.

This is short description of what could happen in The Graveyard, a game designed by Belgian developer Tale of Tales. It  blows your mind because it is so different from your traditional game– there is no obvious “goal” and no such thing as winning or losing. There is so much more room for interpretation, so much more room for imagination. Tale of Tales has repeatedly released games that have no linear storyline, including The Path, where you play one of six sisters and be Little Red Riding Hood going into the forest to grandmother’s house. Whether or not you choose to stay on the path or go wandering off into the woods is your own choice. More recently, they released Fatale, which they present as an interactive vignette based on the story of Salome.

At the core of Tale of Tales is Auriea Harvey and Michaël Samyn, who are the founders of the company and design/ direct all of their projects.  They are not just game developers but media artists, with a thick portfolio and prizes such as the SFMOMA Prize for Excellence in Online Art to prove it.

Q. Why do you choose to develop games that don’t have a linear storyline?

A. Mostly because everybody else develops games that do have one.

We believe that linearity is not compatible with interactivity. But we also believe that you can do anything with the interactive medium. That includes linearity. So we’re not purists about this. It’s a more personal choice.

We feel that linearity limits the potential of the interactive/generative medium. We’re interested in the idea of collaboration between player and machine, where both parties are equal. So we don’t think that the machine should be leading the player (as happens when a game is structured along a linear storyline), nor do we think that the player should have all the power to change everything. It’s a collaboration in which, perhaps, both parties can be surprised by the actions of the other.

On a more practical level, it is simply very difficult to marry linearity with interactivity without falling into what David Cage has referred to as the format of pornography in which bits of story and bits of action are arranged in an alternating sequence. This is not necessarily a bad format (most videogames use it) but it does leave us a bit unsatisfied both as players and as designers. Because, instinctively, we want to have action and story wrapped into one experience. This is a very difficult thing to do. And in practice, it almost always leads to the action defining the story. Which, when it comes to games, means that you can only have a small range of stories (stories about themes that are compatible with game activity: winning, losing, triumph, defeat, antagonism, rivalry, competition, etc).

At Tale of Tales, we always start with a story, or a narrative situation, and design interaction to express it. But rather than actually telling the story, we assume that the player already knows it (after all, in the end, there really is only one story, isn’t there?) and start the experience from there. It’s a little bit like medieval paintings and sculptures that depict scenes from the Bible or from mythology without explicitly telling those stories. Simply playing with the symbols and letting the imagination of the viewer do the work.

We never really want to tell a specific story. We have no big message for humanity. We’re more interested in suggesting themes and seeing what people think of them. We never want to convince somebody. We just want to point something out, something that people might not have noticed before. And then it’s up to them to decide what they think about it.

We tend to think of interactive art as more similar to painting and architecture than to cinema or literature.

Q. Do you think there is a difference between media art and games? What is your definition of a game?

A. We don’t like to define terms. Because then any discussion quickly becomes a semantic one. And people start saying that our work is bad because it’s not a game. As if a carpet would be bad because it’s not a closet. Those are silly discussions.

We prefer to use terms as they are used in the field, without clear definitions. As such, media art seems to be an evolution of fine art: a way to create works that can be seen in a gallery or museum. Games, on the other hand, are made for distribution. There is no “original copy” of Doom. And it doesn’t sell as an “limited edition” either -at least not exclusively.

At Tale of Tales, we enthusiastically embrace the potential of software to be copied and distributed endlessly. The direct contact between creator and audience is one of our main motivations. We’re even willing to sacrifice some of our artistic ambitions for this. It’s often more important for us to reach our audience than to send out a clear message.

That being said, we find many artworks to be more playful than games. Computer games are often very strict. They are about obeying rules and performing well according to certain expectations. We like to introduce some of the playfulness and openness of art into the medium.

Q. How important is atmosphere (the surroundings of the game player) to the experience?

A. Atmosphere is probably one of the most important elements in our work. Probably because our main goal is to put the player in a certain situation where he can experience what it feels like to be in that situation and get the opportunity to think about things that he might not have thought about otherwise. As such, “atmosphere” is not just “icing on the cake”, a pretty little extra. It is very close to the essence of the design.

We want to create an environment that you can step into, that you can become a part of. To a large extent, we even use interaction to enhance this experience.

Q. Does religion play a role in your game design?

A. Not really. We’re interested in certain religious texts, but more because of their impact on cultures than because of their spiritual meaning. We’re not religious ourselves. We don’t even believe in science! But religion is an important part of the society that we live in and we are critical of this society’s refusal to admit this. So we like to confront people with this. And we want to embrace our religious traditions as part of who we are.

Q. What do you think is the difference between first person and third person viewpoints in role-playing games?

A. A mundane, but very important, difference for us is the difference between getting sick and not getting sick. Our bodies have a hard time with games in first person viewpoint. They often make us nauseous.

Disregarding this, we are very much aware of the psychological implications of the way in which you control a game. The first person viewpoint is an ego-centric viewpoint, a point of view that implies power over your environment. Perhaps this is why it is so ubiquitous in shooter games. The third person view, in which you see your avatar, implies empathy with at least one character in the story. As such, it seems to be more suitable for social games and for narrative games. It’s easier to imagine being another person when you see what that other person looks like and how he or she behaves.

But we like to play with the ambiguity of camera viewpoints. In the end, you always play a game from a first person perspective. It’s always you, the player, who watches the game and controls the activity of at least one character in the story. Whether you see this character or not is, technically, a detail. So even when we use the third person viewpoint, we like to include the idea of the first person viewpoint. We like to play with the separation between player and avatar. So sometimes, in our games, your avatar may start doing things that you didn’t tell her or him to do.

The avatar is clearly more at home in the virtual world than you are. He or she is not only a connection between you and the story. Sometimes we let the avatar represent the story, in the independence that it gets from running on a computer. And then the experience becomes one of collaboration between avatar and player (perhaps this might be considered “second person viewpoint”). But we always leave things open in our designs. It’s up to the player to choose how they like to play.

Q. When you create interactive elements, do you have a story in mind for that interaction?

A. Yes. But maybe not in the sense that story is often seen. People tend to think of stories as series of events with a certain well-defined structure that leads from one point to another and culminates in meaning. We never think that far ahead. Because there’s too many variables when dealing with interaction. For us a story is a situation, characters, setting, etc, but not plot. We use the term “story” as in “the candy wrapper in the gutter tells a story” or “that man’s wrinkles tell the story of a lifetime”. So it’s more about a _potential story than an explicit one. It’s about imagination.

Then we create interactive elements mostly to stimulate the imagination, and possibly to guide it in a certain direction. But they are often more like questions than demands. We like asking questions like “What do I feel like when I do this?”, “What does it mean when I do that?” So, in terms of story, our interactive elements ask questions about the narrative implications of actions. Some of these implications can be predicted by us as authors, but not all of them, and definitely not the personal nuances of these implications. That way, each experience of our work becomes highly personal and unique.

Q. Movement seems very slow in your games. Why is that?

A. Actually it’s not. In our games, movement is realistic. And often defined by the actual movement of the character, as animated by our animation collaborator Laura Raines Smith. The reason why it seems slow is that in most other computer games, movement is much faster than natural. Because it is fun to speed through levels and because gamers tend to like absolute and direct control.

On the other hand, most of our games are about stopping what you’re doing, slowing down, and taking a moment to think and feel something. Unlike most games, which put you on a roller-coaster ride away from your own life, our games act as pause buttons. Take a moment and allow yourself to breathe. That’s why their slowness might come as a kind of shock when you start up the game. Like a speeding truck coming to a sudden halt. But once you get used to it, it quickly starts feeling natural. You just have to stop fighting it and adapt to the program.

Q. Most of your games seem to have a dark element that is also surreal. How would you describe this ambiance?

A. “They look like monsters to you?” is one of our favourite quotes from one of our favourite games (Silent Hill 3). And it expresses our feeling about this perfectly. What others may consider to be dark or surreal is perfectly normal to us. So we would describe this ambiance as reality.

What we find surreal is the increasing US military presence in Afghanistan or the fact that the EU is willing to give US banks more access to its citizens’ private information than the EU government itself, or the lack of response from the West to oppression of Palestinians, or the fact that developing countries owe industrial countries money, or simply advertisements for Coca Cola in refugee camps in Africa. Those things are truly dark and surreal!

Q. What shaped your interests for these “dark” elements? For instance, do you enjoy horror films or novels?

A. I think this is another expression of how we try to expose things that generally tend to be underexposed. In videogames, for instance, you are always the hero, you always win. So we’re interested in what it feels like to be the victim instead, the loser. We’re not naturally morbid. We’re strive for balance. When everybody is too happy, we try to make them feel sad. And vice versa.

Q. Your definition of horror seems very unique. How would you describe “horror”?

A. We wouldn’t [describe horror]. We have no idea.

Some people say horror is about fear. But we don’t feel that that’s a very interesting emotion. Desperation and lack of power are much more interesting, for instance. But so are love and kindness.

Q. Do you feel that horror (or apprehension) manipulate emotions in your audience better than other genres?

Horror is easy, in a way. Because you can’t really make design mistakes. Every design decision that doesn’t quite work contributes to the feeling of unease. In a way, horror is a haven for bad design. The fact that the combat controls in Silent Hill are very clumsy, contributes to the feeling of weakness that is a big part of the game’s emotional effect, for instance.

Also, in our experience, horror is an easy way to get away with art. To some extent, art is about exploring the unknown, about asking questions, about confronting the audience with the unfamiliar in the familiar. For people who don’t appreciate contemporary art much, all art must seem horrific. The unknown is always frightening at first. So when you have artistic ambitions and you work in a popular medium, like we do, your work quickly gets interpreted as horror. With The Path, we used this “weakness” in the audience to our advantage. Many scenes in The Path would look like normal art installations in a museum for contemporary art. But in a videogame, they suddenly look scary.

Q. Do you think there is a hazy overlap between life and death?

A. Not at all. Life and death co-exist. In a very clear way. There’s nothing hazy about it. And there’s no overlap. Life and death may be the only true opposites. Everything else is a lot more hazy. We’re all programmed to love life. But many people find it hard to do that in the light of death. So they tend to block out the idea of death or trivialize it.

As artists, we’re interested in what happens when you don’t ignore death, and when you do give it a prominent, “noble” place in your life. Death is not a disease. And death is a great mystery. It is a big part of our lives, whether we want it or not. Death motivates many of our behaviours, and it influences many of our thoughts. In some of our pieces, we explore these connections between life and death.

Q. Was there a specific incident in your life that made you think more about death?

A. Not an incident as such. But having an old grandmother who was very aware of her own approaching death and wasn’t afraid to talk about it, even if it was difficult for her children and grandchildren. In a way, she probably prepared us all for her death this way. So when we were carrying her coffin in church, it was a serene, almost satisfying moment. Like giving her one last hug before laying her to rest. This experience probably encouraged us, on some subconscious level, to not run away from the idea of death, but embrace it, and live with it, and talk about it in our work.

Q. As a small developer, what do you bring to the table that large commercial game studios cannot?

A. In theory, there’s nothing we can do that large commercial companies could not. But in practice, this is not true. Large commercial game studios are either large and commercial because their first priority is to make money or because they want to make big games. The case of the latter is rather sad because, while these people are motivated by creative ambition, they are forced to work in a commercial way because, basically, the technology is primitive. Because computers are still too slow and too unreliable, small armies of engineers are required to work long hours on each and every large game. This is very expensive. As a result the game needs to be very commercial. So it ends up being beneficial that the artists are pushed into a corner. Because their ideas may be too risky.

The disproportion between the high degree of technical complexity and the lack of creative input in terms of content and design is so enormous that it has effectively lead to stagnation in the development of videogames as a medium. It is quite possible that videogames die before computer technology reaches a level where development becomes as comfortable as music or film creation.

At Tale of Tales, we try to find ways out of this stale-mate situation. We insist that the author is the central figure in games creation and that everything needs to submit to his or her artistic vision. We try to remove the obstacles that stand in the way of that by making different sorts of compromises. Like reducing the size of the game, instead of increasing the budget. Or working in a non-profit way with arts funding. We believe this is our task and even a duty.

So, as a result, we can offer more meaningful content, a more personal style, unique forms of interaction, games that make you think, that make you feel, games that don’t abuse you by being designed for the lowest common denominator. Again, in theory, none of these things are impossible to achieve by large commercial studios, if they would put the artistic vision of a talented author at the center of their production process. But, apparently, in practice, they are not willing (or capable) to do that.

Q. What factors make you (Michael and Auriea) compatible?

A. We’re both heterosexual and one of us is a man and the other a woman.
That is only partially a joke. There are differences between the genders, both in terms of art creation and appreciation. We are both interested in how the other gender thinks and feels. And we try to include all those facets in our work. It helps when you have a live specimen of the other gender in the room.

In terms of talents, we only complement each other to some extent. We are both artists and as such, we’re lacking in the more technical and administrative departments. But we share a similar artistic vision. We’re probably just the right amount of different to complement each other and the right amount of similar to agree on the things that are important.

Q. How do you feel about your business model? Do you feel current digital distribution outlets support the type of work that you do?

A. We’re old school internet people. We still think that our own website is our major “distribution outlet”. We will always try our best to optimize our own space. That being said, we are obviously aware that larger groups of people gather elsewhere. And we do want people to see our work. So far, we’ve been lucky enough to get distribution through the most important channels for PC game distribution (Steam, Direct2Drive, Gamer’s Gate, Gametap, Gametree, etc). We’re glad with the openness towards our work, but we wouldn’t call it actual “support”. These outlets tend to cater to hardcore gamer hobbyists and after decades of repetition of the same basic ideas in videogame design and content, many of these people are extremely reluctant to try out something new. So we feel a lot more can be done to educate the audience and encourage players to be a little more adventurous.

Digital distribution is not just a business model for us, though. It’s a matter of principle too. Digital distribution allows us to address our audience directly, without too many filters in the way. And it makes sense on a technical levels, since, in the end, all we’re doing is copying bits from one disc to another. The most efficient way to do this is through a network. And as a bonus we consume less of the planet’s resources.

Q. Do you see yourself doing multiplayer games in the future?

A. The first game we published was a multiplayer game. It’s called The Endless Forest and it’s still up and running, and thriving more than ever. The Endless Forest and its community of players are very important to us. We’re going to continue expanding The Endless Forest as long as we can. It’s a free game, so development gets tricky sometimes.

Next to that, we do have other ideas for multiplayer games. Hopefully we’ll get around to some of them.

Q. What kind of game do you see yourself making in 10 years?

A. It’s hard to say. Because everything changes all the time. And we pride ourselves on being flexible.
In the end, we probably will want to make a game about being in love. Because that’s what brought us together and being together is such a big part of our lives. But 10 years is too soon. There’s still a lot we need to learn before we can properly address this topic. Hopefully we’ll live long enough.

Jacket Fatale available in 8 colors :

Black,Brown,Purple,Silver,

Blue,Copper,Gold and Pink :

http://slurl.com/secondlife/Eagle%20Grove/205/31/802

fui ao wal mart e comprei o último colossal volum express. tava em promoção a parte de perfumaria e perdi o desodorante de 14 q estava por 8, pq já tinha acabado.

embalagem amarela, aplicador gordo… lá fui experimentar a belezinha… o colossal é ok, mas nada tira o fatale do meu coração. mas a maybelline tb tem lugar de honra na necessaire.

#prontofalei

Il ministero della Salute in una nota ieri sera ha ricordato che “la percentuale delle vittime per l’influenza a è lo 0,0048% dei malati contro lo 0,2% dei decessi per la normale influenza.

Con il decesso di Napoli, un altro a Civitanova Marche e uno a Caltagiorone salgono a 41 le vittime accertate che soffrivano anche di influenza A in Italia.

“Tutti i soggetti tranne uno, presentavano gravi patologie pregresse”.La donna morta nel reparto di rianimazione dell’ospedale ‘Gravina’ di Caltagirone, nel catanese, aveva 38 anni: era una disabile mentale che da tempo soffriva di gravi patologie ed era affetta anche dall’influenza A.

Il ministero del Welfare, con una nota ufficiale, fa il punto sulla disponibilita’ di vaccino alle regioni dopo le polemiche sui tempi per avviare l’immunizzazione della popolazione.

Fonte:

http://www.rainews24.rai.it/it/news.php?newsid=133961

My review of Brutal Legend is going up on bit-tech today, with a second review going up on Den of Geek in a few days. I’ll save you the tension and just say that the game is awesome; I love it. Honestly, I found it quite hard to write the bit-tech review, but once I got going it was OK – my main problem was trying to make it clear that the main fault of the game is an array of somewhat bland gameplay tropes. The characters, plot and multiplayer make up for it though. I actually met Tim Schafer again not long ago, asking him a bunch of questions and getting him to sign my copy of Grim Fandango. He was very much like I expected; quietly uncomfortable with the reputation that’s been built around him and not totally willing to be serious for more than five minutes thanks to a very shrewd sense of wit and quietly mumbling voice.

In other news, I’ve been reading Atlas Shrugged by Ayn Rand lately and I really like that too. Unlike most books that are actually about explaining a deeper philosophy, Atlas Shrugged doesn’t stray into the usual diatribes and monologue bollocks. Instead, it just stays with a really interesting array of characters who communicate their philosophies by their interactions with the world around them. The book is well written too – something I didn’t wholly get from The Old Man and The Sea by Hemmingway, which I finished reading just before hand. I can’t believe that won a Nobel Prize for literature in all honesty;  the Christ imagery was semi-interesting and all, but it’s no compensation for a dull plot and staid writing.

Here’s a round-up of other stuff I’ve done.

• Operation Flashpoint: Dragon Rising review (5/10)
• Professor Layton and Pandora’s Box review (9/10)
• Remembering the Sega Dreamcast (Feature)
• Alpha Protocol preview (GamesCom Preview)
• What Makes You Quit A Multiplayer Game? (Gaming Blog)
• I’m An Evil Basterd (Baldur’s Gate Challenge)

What else? Well, on top of my classic book reading binge, my Father is preparing to launch a whisky tasting event company, I reviewed the next game from Tale of Tales; Fatale, and I’m preparing for a slew of features on the site. I also did a column in the latest issue of CustomPC Magazine that I’m quietly proud of, asking whether PC Games Journalism is mired in Nostalgia. On a somewhat ironic counterpoint, I’ve been playing Duke Nukem 3D on the iPhone an awful lot.

I also went away for a weekend with Ed from TrustedReviews and Hannah and we learned how to skin a deer, make jerky and survive for 48 hours in Wales.

That is all, Joe.

Summary: “Fatale” is based on the legend of Salomé, who, 2000 years ago, demanded the head of John the Baptist as a reward for dancing for her stepfather, King Herod. Oscar Wilde’s 1891 interpretation of Salomé as a young woman in love with the prophet is the main inspiration for the project. In “Fatale” you will be able to explore the scene of this momentous historical event, experiencing the story through the emotions and thoughts of the characters involved.
Genre: Adventure
Publisher: Tale of Tales

Release Name: Fatale.REPACK-CPY
Hosted On: Netload, Rapidshare, Hotfile, Storage
Links: Official Site, Torrent Download

Hotfile Download

http://hotfile.com/dl/14358594/ddb4fe0/cy-fatr.rar.html

Storage Download

http://www.storage.to/get/T9S4s4Si/cy-fatr.rar

Netload Download

http://netload.in/dateic1BoYw8bLU/cy-fatr.rar.htm

Rapidshare Download

http://rapidshare.com/files/290001342/cy-fatr.rar

Unser Leben ist verseucht mit

angenommenen, aufdiktierten

und selbst kreierten Glaubenssätze,

also von Illusionen, von den

illusorischen Vorstellungen wie

das Leben funktioniert, wie die

Dinge sind -

das fatale an Glaubenssätze ist,

dass sie als ganz normal, wirklich,

real, also als Wahrheit begriffen

werden und somit nicht mehr

hinterfragt werden.

Don’t Know If this Is A Real Trailer or not but if This is coming out THis Would Be Hilarious……. Sheneneh Jenkins & Wanda Reid!!!!HAHA What Yall Think??

Il colore affluisce nel punto, viola opaco.
Il resto del corpo è slavato,
colore di perla.

In un pozzo di roccia
il mare succhia ossessivo,
una cavità perno di tutto il mare.

Grande come una mosca,
il segno fatale
striscia giù per il muro.

Il cuore si chiude,
il mare rifluisce,
gli specchi sono velati.

(Da Poesie 1963)

Femme Fatale: In french, “deadly woman” : an attractive woman who seduces and takes advantage of men in order to achieve personal goals after which she discards or abandons the victim…

So if the shoe fits, let this pendant do the talking (in french of course) for you!

This dome pendant is paired with a heart charm dangle, a semi precious white howlite stone (one of my favourites actually, looks like the heart is on the verge of breaking.

Measurements: Dome Pendant is 18mm, Heart charm is 15mm

Materials: Acrylic dome pendant is a vintage acrylic magnifying cabochon once used for making those 1960’s mood rings. Brass setting is not vintage but a repro.

Comments: You will receive both charm pieces. Sorry chain necklace is not included but you can buy chain of your choice from my Chain Collection.

Or you can add them to your favorite charm jewelry.

The Italian divas of the 1910s were the first female stars of the silver screen, but sadly they’ve been largely forgotten. The Filmmuseum has put together this three-week ode to the origins of such film archetypes as the ‘femme fatale’, the ‘femme fragile’ and the ‘femme hysterique’. Nine films (including ‘Rapsodia Satanica’) are being shown, all with a live music accompaniment.

Foto originale: http://virnalamour-stock.deviantart.com/art/stock-081-107013341

Avec un coup de coeur particulier pour SOLEIL SUCRE. On y adore le côté intimiste de la boutique , le packaging des sacs, les créations colorés, sensuelles, coquines, felines, fatales, ou encore un côté pin-up ou femme enfant dans les créations . Bref de quoi faire succomber nos hommes langue pendante telle les images que l’on a vu dans TEX AVERY.

>>PRESENTE DE NATAL!!!<> http://www.baixahits.com.br/index.asp?secao_link=home_artista&id_artista=27103

====================================
ABRA SUA MENTE

Se a chuva leva embora e o tempo ajuda a esquecer, todo amor que eu te dei
Pra mim só resta crer que pelo menos tentei, que ao menos eu tentei!
Hoje apago as marcas, te escrevendo outra vez

Abra sua mente e deixe o som te levar,
Que ele traz, o que eu quero te dar
Veja o céu se abrir e deixe o sol te acordar, deixa brilhar, pra poder te encontrar

Se esperar demais é errado então aprendi, difícil é entender
Que a vida é a viagem e não o destino a seguir, não espere pra viver!
Sei que o tempo passa, é o que me faz crescer!

Abra sua mente e deixe o som te levar,
Que ele traz, o que eu quero te dar
Veja o céu se abrir e deixe o sol te acordar, deixa brilhar, pra poder te encontrar

Seus olhos me prendem, é o que não sai da cabeça, espero que entenda o que escrevi!

Abra sua mente e deixe o som te levar,
Que ele traz, o que eu quero te dar!
Veja o céu se abrir e deixe o sol te acordar, deixa brilhar, pra poder te encontrar

___________________________

Por favor, add o perfil oficial 2:

http://www.orkut.com.br/main#profile.aspx?uid=5791231372453823692

Saiba simplesmente tudo sobre o FATALE, basta visitar este site www.deouvidos.com/fatale

È com muita satisfação que comunicamos a todos os nossos fãs que finalmente depois de 3 anos de muita dedicação e trabalho, o fatale venceu seu primeiro grande concurso, “garagem independente” do portal baixa hits e um dos prêmios será tocar na rádio jovem pan para todo brasil e também participar do programa pânico. acompanhe a classificação final do concurso no link abaixo:

baixahits.com.br/index.asp?secao_link=independente_resultado

AVANTE FATALE

Este é o perfil oficial da banda FATALE.

Fundada no dia 29/08 de 2005 em São Paulo / SP, a banda FATALE é composta por:

Nando Gabriel
Adriano Gaeta
Uccio Gaeta (Tinho)
Jesse James

Site : www . fatale . com . br

Clipe: http://br.youtube.com/watch?v=i5EVXgDMkm0

E-mail: contato @ fatale . com. br

Msn: bandafatale@hotmail.com

AGENDA:

19/12 – Tarde de Autógrafos no Shopping Esplanada em Sorocaba / SP ás 18:00h

21/12 – Fatale em Sorocaba / SP – Ipanema Clube

31/12 – Fatale em Boituva / SP – Clube Planalto – Festa de Fim de Ano e Aniversário do vocalista “NANDO GABRIEL”!!!

10/01 – Fatale em Pilar do Sul – Central Bier

16/01 – Fatale em Araraquara / SP – Bazuah Café, antes participação da banda ao vivo na Jovem pan Araraquara e autógrafos na própria rádio.

17/01 – Fatale em Embu/SP – Caipirão – á confirmar

24/01 – Fatale em Laranjal Paulista – Clube CRC – á confirmar

The Italian divas of the 1910s were the first female stars of the silver screen, but sadly they’ve been largely forgotten. The Filmmuseum has put together this three-week ode to the origins of such film archetypes as the ‘femme fatale’, the ‘femme fragile’ and the ‘femme hysterique’. Nine films (including ‘Rapsodia Satanica’) are being shown, all with a live music accompaniment.

Fatale is a fictional character who first appears in the Marvel Comics universe. She is an assassin, usually working for Dark Beast. She first appeared in X-Factor vol. 1 #112, but in X-Men vol. 2 #49 it was revealed that Pamela Greenwood, a waitress who had appeared two years before in Uncanny X-Men #299, was in fact Fatale in disguise.

Fatale had several superhuman powers: she could bend light around her, altering her appearance and even turn invisible this way. She was also a powerful teleporter, capable of teleporting large objects or groups of people across the world. She lost these powers following M-Day, but even without her powers Fatale remains a threat; Fatale is a skilled martial artist and often uses a poisonous blade or advanced firearms. Yukio identified Fatale’s fighting style as Ghost Tiger Style. Fatale is also a skilled forger.

To download issues 1-6

Fatale

yes, you
you are.

truly

The Italian divas of the 1910s were the first female stars of the silver screen, but sadly they’ve been largely forgotten. The Filmmuseum has put together this three-week ode to the origins of such film archetypes as the ‘femme fatale’, the ‘femme fragile’ and the ‘femme hysterique’. Nine films (including ‘Rapsodia Satanica’) are being shown, all with a live music accompaniment.

Eu disse nesse post aqui que ia falar sobre ele, e cá estou eu!

Rímel pra mim nunca é demais, é o meu favorite beauty product of all times! Ele dá volume, alonga, separa os cílios e abre o olhar, e isso pra mim é simplesmente maravilhoso. Sou fã e tenho vários! Como fiz umas aquisições ultimamente, decidi vir aqui no Fashion Affair mostrar os novos integrantes da minha coleção — e claro, dar minha opinião sobre os mesmos. Here we go:

As compras: Telescopic e Volume Shocking, ambos da L’Oreal; e o Fatale, da Lancôme (dica da Vic Ceridono!). Só vou ficar devendo fotos dos meus cílios…

O Telescopic pra mim foi uma ótima compra. Ele é preciso, separa muito bem e alonga os cílios, deixado-os bem definidos. Não empelota, não faz meleca, e segura a curva! Só é preciso atenção porque a extremidade do aplicador é um pouco mais mole, mas no problem. Comprei o Waterproof e recomendo — o rímel dura mesmo, e não sai por nada!

O Volume Shocking, também da L’Oreal assim como o Telescopic, tira um pouco mais de tempo pois é um rímel de duas fases. A base é cinza, e alonga horrores — mesmo! Eu tenho cílios longos e curvados naturalmente, e eles ficaram enormes depois de passar a primeira fase, que é uma escovinha normal. Com a segunda fase, é preciso mais cuidado: o pentinho guarda muito rímel entre as cerdas e se não for passado com calma, deposita muito nos cílios e empelota. Além disso, nunca consegui cobrir 100% da base sem ficar com cílios de drag queen! Por isso sigo a dica que a Maria Prata deu pro Dia de Beauté e pulo a base, vou só pra fase preta e termino com cílios longos, volumosos e separadões! Fora o probleminha da base, achei o Volume Shocking um rímel maravilhoso, que segura a curva muito bem e dura bastante.

Já com o Fatale… foi love at first sight! Confesso que no começo foi uma pequena luta pra acertar a mão, porque ele também acumula muito produto entre as cerdas do pentinho e se não tiver a mão leve pra passar, enche os cílios de produto e acaba borrando tudo. Mas depois de acostumada, me apaixonei, virou minha máscara favorita. O Fatale faz milagres nos cílios — os separa maravilhosamente, desde a raíz até as pontas; dá um volume considerável; segura a curva muito bem; e alooonga que é uma beleza! Me senti a própria Minnie!

Pra quem não acredita que um rímel pode mudar a vida — ou pelo menos o olhar — de alguém, acredite now, porque pode! Use o curvex, escolha um rímel poderoso e faça os cílios crescerem e aparecerem. Fique pronta pra arrasar!

Por Maria Isabel
Fotos: Sephora, Lancôme e L’Oreal