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Beric even manages to set Sandor's wooden shield on fire, which is strapped so tightly to Sandor's arm that he cannot remove it and is nearly burned himself. Eventually, however, Sandor's raw physical strength and anger (born of terror) overpowers Beric, and with a single downward swipe, cuts right through his flaming sword, his armor, and deep into his shoulder, killing him. Sandor falls to the ground to desperately try and extinguish his flaming shield. Arya Stark grabs a dagger and attempts to kill the Hound while he is down, but she is stopped by Gendry. As she curses him, Sandor taunts Arya over how the god prefers him over her dead friend, however they are both interrupted by Beric, who has been revived by the Lord of Light's power. Having won the trial, and proven his innocence in the eyes of god, Sandor is allowed to leave. The Brotherhood had taken all of the gold Sandor had on him (to fund their cause), and in lieu of returning it, Beric gives him a promissory note which will grant payment at the end of the war. Sandor scoffs at this and throws it to the ground, but Anguy says he should be thankful they're letting him leave with his life. Clegane is hooded so he won't know the way back to their hideout, then led away to be released some distance away. Gendry says that he has decided to stay and work as a smith for the Brotherhood Without Banners, to aid them in their cause to protect the smallfolk during the war. Arya says that their plan was to find her brother Robb, and Robb needs soldiers too, but Gendry points out that he has no attachments to Robb Stark: Arya would be going to her noble-born family, and he'd just be serving another lord. He'd be serving in the Brotherhood too, but they chose Beric as their leader, and they're more like a family - and as a common-born tavern maiden's son who was orphaned at a young age, Gendry has never had a family. Arya sadly chokes out that she could be his family. Thoros says that they plan to bring her to Riverrun to reunite her with her family, and in exchange for a reward from Robb to fund their cause. Arya points out that they are ransoming her, and Thoros admits they technically are, but this is different. They do intend to escort her safely through the war-ravaged countryside to her family, and Beric would like to return her for free out of memory of her father, but they really need the gold to support themselves. Beric says he knows she must be angry with him, but releasing Sandor was the right thing to do, as they'd promised to let him go free if he won the trial by combat. Arya is still quietly upset, as she's now seen many honorable men keep their promises and behave lawfully only to be killed for it (such as Yoren and her own father ). She wonders why Beric would want to let Sandor go when he nearly killed him, but Beric insists that he did actually kill him.

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To je dete koje nece zeleti da ostane unutra kada pada kisa. Projurila sam kroz ovo poglavlje o stadijumu deteta, jer ova deca nikad nisu deca. Zadrzite psa, sve dok vas mali Uranac ne napuni bar 10 godina. On moze imati muka da nadje svoje mesto u drustvu iz ulice. A k o padne sa svog oblaka, tresnuce na ulicu, u maglu, V O D O L I J A 481 i udariti ravno u telefonski stub ili postansko sanduce. Rasejanost Vodoliju dovodi do uganutog clanka - slomljenih kostiju i uciteljevog gneva. Skoro sva deca Vodolije bila su ispod kreveta, kada je bog delio pamcenje. Vas brilijantni - sto verovatno i jeste - malisan Urana, mora da nauci da u svoj cilj ukljuci i to da ne postane humani kompjuter. On mora da shvati vaznost organizovanja svojih misli u logican red. Intelektualno, oni su djavolski brzi Ali fizicki mogu biti malo usporeniji, bar dok su u roditeljskoj kuci. Mogu saosecati sa pticama, drvecem, prirodom, morskom obalom. Dete Vodolija moze da krene stazom krajnje tvrdoglavosti, ako mu to dopustite. Neispoljena napetost u stanju je duboko da ga uznemiri. Ideje usadjene u te plodne, izvanredno ostre uranske mozgove, u detinjstvu, cvrsto mogu da uhvate korena i formiraju kruto misljenje u zrelosti. Devojcice i decaci Vodolije imaju mnostvo prijatelja. Adolescentski ljubavni problemi nece vas nikad uznemiravati. Mozda cete, u stvari, morati da podsecate dete Vodoliju ko je kog pola. Mali broj malisana luduje za decacima ili za devojcicama. Vrlo je moguce da ce zaista ludovati, tek kad pocnu da nose neobicnu odecu i da prave razdeljak na cudan nacin.

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July 2007 In the Businessof Entertainment The chief of film production at Rotana Group on how to market Arab films abroad By Sherif Awad In the sea of faces that makes up many an Arab and international film festival, one man stands out. With his heart set on bringing Arab films to international markets, producer Ayman Halawani is currently serving as general manager of film production at Rotana Group. But Halawani — who was born in Saudi Arabia and lived in the US for 16 years,where he finished his MBA at the University of Chicago — started off his career not in entertainment, but in investment banking. Armed with a strong background in entertainment financing and a slew of contacts in all the right places, Halawani worked at the Cannes Film Festival in May to showcase his label’s products and scout and snatch up promising new talents for the near future. After starting in investment banking, I then moved into a more specific branch; entertainment financing. But as you know, Akkad sadly passed away the following year in a terrorist bombing in Jordan and the financing of the movie was never completed. Maybe his son Malek Akkad will make this dream come true. Egypt is a completely different industry environment. We first began to study the history of the Egyptian film market from the tiniest details in production budgets to the local and world sales chains. We discovered that during the past few decades several companies drew the map for the industry to flourish until, in the present day, two distribution companies try to take over the market by force. According to my previous financial experience, this strategy has never worked before. That’s why we decided to become partners with the different producers and distributors and to be friends even with competing conglomerates on the Egyptian market. As such, we’ve become partners with the competing companies in the local market. There was a lot of criticism surrounding Rotana’s purchase of the negatives of classic Egyptian films, with detractors lamenting that the Egyptian film rights would move to the hands of the Arabs. To do so, we signed an agreement with IBM to ensure the best quality of our audiovisual content by digitalizing and restoring the entire library of 2,000 Egyptian classics. Through our company Founoon Marketing and Distribution, we have released these restored titles on DVD around the Arab world while showing some of them on Rotana Zaman Satellite Channel. As for Rotana Cinema, it shows colored movies produced in the last three decades. Amongst the other free-to-air satellite channels, these two channels scored the highest ratings since their launch in 2003, according to the market research results released by Epsus, a company specializing in ratings and viewership. Both channels also became a catalyst in encouraging contemporary audiences to watch movies and bringing back their appetite to go again to film theatres all over the Arab world.

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In any decision between a more-subjective or less-subjective analysis of a game (or, you know, anything), I feel a pull toward the more subjective side. Part of this is that I feel like the more I try to see through or decipher the intent of a game, the less room I leave for it to challenge me by being something completely different in practice. It seems like you simply can’t ignore the author as context without also ignoring issues of cultural hegemony and political statements made through art. I’m not sure it’s ever possible to put aside that kind of projection entirely. There are fruitful design opportunities there, if you keep your eyes open. So I’m happy that it’s provoked so much response so far, thanks all. George hits it on the head with context; author is just one example of a broader context that readers build into their appreciation of a work. How much context is useful for critical consideration. If context is important, why be so arbitrary that the author needs to be bumped off. So I side a little with Eric, although that doesn’t stop me from saying Eric embarrassed himself there. Michael was disappointed that context was important to the success of a game, and thus becomes a form of constraint on what you are “allowed” to make. I never played Shadow Complex, incidentally, because it wasn’t a PC title. My impression is that boycotts don’t work in the main, so I doubt this had a serious impact on sales. We like indie because they show off a human author far more than AAA. This is a general observation and one which breaks down if you examine it too closely; author-teams can still create work with a recognizable flavour. (Looking Glass, anyone. I could also cite Valve, but I can some people coming back and saying those games are polished to banal perfection. . Plus I already had plenty of author-as-brand examples by that point.

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