#tinsman

[c0untm4gula]

Elphie, Glinda, Fiyero, and Boq after multiple hours of questioning their sexualities while Nessa is fighting her demons

[christianityculturecults]

039 COGR’s Revelation Audacity Series 1: Is Revelation Just a History Book?

[markrosewater]

Hello again, Mark!

So, about Brian Tinsman and his designs. I have the feeling that they were all trying to expand the boundaries of normal Magic in an almost physical way:

Judgment played a lot with the graveyard, even returning cards to the opponent’s hand.

Scourge focused on the stack (via Storm).

Kamigawa block focused on the stack (via Splice) and cards in hand (particularly Saviors of Kamigawa).

Time Spiral blurred the boundary between the battlefield and exile (via Suspend).

Rise of the Eldrazi created a second hand-stack axis by turning the most common creature in the set into mana sources and putting lots of activated abilities on creatures via Level-up.

Avacyn Restored focused on bouncing, reanimating and flickering, and pairing permanents via Soulbond (something even similar to this has never really been tried again).

So, my question is: have you shied away from Tinsman’s approach to doing revolutionary things? As in, sets nowadays differ mostly flavorwise, we wouldn’t see anything like the above list in big quantities. Is that because you think that deviating too much from that standard makes Magic sets less enjoyable?

Thanks a lot for all your work!

So, you don’t think we’ve done anything revolutionary since 2012? : )

Brian was a fan of exploring the unknown, but I don’t think we’ve exactly avoided that since his departure.

[desire-mona]

ramble post

im actually not the most gigantic fan of the wizard of oz MOVIE, not because its bad or because of the bts abuse or whatever else. to me i just dont really like it.. being a musical i guess? NOW HOLD ON WAIT because the songs are great and i adore the choreography but. like i was watching it and i was like Man the dialogue and movement of the characters (outside of song) seems really unnatural and dramatic I Wonder Why. at first i was like well its 1939 what do u expect and then i remembered that its a musical and thats just What Musicals Are Like. gotta play it all up for the stage cuz ppl cant see in depth facial expressions yadda yadda yadda, i just dont really like it as much when translated to screen a lot of the time. which is weird because theatrical stage acting translated to screen is the exact reason WHY i like robert sean leonard's acting, though theres a big difference between wilson theatrical and dorothy theatrical. like the stage acting experience made rsl's facial expressions and mannerisms MUCH easier to read, but its played up tenfold in oz where Yes i can tell exactly what each character is thinking, but there arent as many nice lil subtleties. anyway i wish i liked that theatrical style of film more bc i feel like im missing out and now im just land locked to like.... rocketman? i guess? im just not a big musical person in general, especially not musical theatre, again not that i dislike it i just feel like the theatrics ruin my immersion unfortunately

the dialogue specifically in the book is very touch and go for me tbh. its very simple, which is expected from a children's book written in 1900, but i feel like its repetitive almost? not as in the characters say the same thing all the time, but the way they say it is the same thru the whole book. in moderation its fine and again this is very trivial, but i can only take so much

"i must blah blah blah blah blah, for i blah blah blah blah blah"

there's a lot of for's which i find endearing on its own but not when its said 50 monillion times. however the illustrations are the cutest sweetest little things in the universe let me show my favs

do you understand. do you understand why i love book dorothy so much. SHES JUST A BABYYYYY!

also also tin man lore goes crazy! he used to be a real guy and he fell in love with this munchkin woman, but didnt have the money to marry her, so he worked real hard chopping trees (woodsman) to get the money. for whatever reason that i dont actually remember, he pissed off a bad witch (i dont remember if it was east or west but i believe east) and got cursed to keep CHOPPING OFF HIS DAMN LIMBS bc her ass really did not want him to marry his lady. anyway he kept chopping off his limbs and this tinsman was like I Will Replace Them With Tin so he DID. after all his limbs got replaced he chopped off his HEAD, got that replaced with tin, THEN CUT HIMSELF IN HALF and got his torso replaced as well. after he no longer had his old body, and therefore his heart, he lost all his love for the munchkin woman. THATS WHY HE WANTS HIS HEART BACK HE WANTS TO LOVE HIS LADY AGAIN!!!!! but she doesnt get mentioned again so that kinda sucks tbh....

i have redesigns of all the characters as well as plotline edits and stuff in my mind but im more than likely not gonna do anything with em so ill post what i said to monty here

idk i rly like the wizard of oz and im excited to read the other 4 oz novels i have in this book AND THEN I ALSO HAVE WICKED im gonna read wicked after too. i know the wicked book is supposedly kinda freaky (idk in what way everyone been really vague when i asked) but im a full grown adult so i can handle it. but im mostly just excited to see all the cute illustrations in the rest of the book

[transmutationisms]

I can guess your gripes re: Adam Ragusea (ahistorical and positivist educational videos, hocks supplements and fitness science, annoying lib, gentrifier, insists on expensive ingredients and time-consuming methods while pretending to be accessible) but I’d like to know exactly how he’s pissed you off and if there is anybody making videos about food science and history who you do like? Or if there’s some lit you can recommend on the subject?

honestly i definitely thought some of his older videos were useful but on principle i simply am not going to take gustatory advice from somebody flogging ketogenic breakfast cereal lmao.

i don't watch many video essays but book-wise, there's a ton of literature on food and nutrition history for sure. i liked laura ann twagira's book about malian foodways and there was also a pretty interesting chapter on food and colonialism in the middle east in on barak's "powering empire". ec spary's stuff on french food history since ~1740 is always good. nadja durbach's recent book on british food biopolitics is also worth a look, and helen zoe veit's "modern food, moral food" on us dietetics in relation to its efforts to amass military dominance in the 20th century. corinna treitel has published a bunch on food, national identity, and conceptions of 'naturalness' in modern germany. i also heard george solt's cultural history of ramen is a really fun read, although i haven't picked it up myself yet lol. if you get into histories of specific food items like that there are some really fascinating pieces of work, like heidi tinsman's "buying into the regime" about chilean grape politics in the cold war. lots on colonial production and imperial foodways in relation to commodities like coffee, chocolate, and dairy products; more than a few things i've glanced over about potatoes specifically. also, on tumblr, i've been really enjoying the essays on palestinian food and food politics (and recipes!) on najia-cooks :)

[scumgristle]

[thefashionsafari]

Check out this listing I just added to my Poshmark closet: Sherry Tinsman Sterling Silver Necklace & Earrings Set.

[superoffbatter]

If this sees print as is, I'm going to pound my forehead against a cement wall until I get a little scab.

Brian Tinsman, one of Magic's (then) developers, Kamigawa development notes

Print this bad boy.

Aaron Forsythe, later head of Magic development, responding to the former

just one littlest smallest thing to finish it. search up the card one with nothing. tell me your sincere thoughts on this card based on what little you know of mtg by now

th. this is useless. why would you ever play this. you're just fucking yourself over for sport. i'm almost impressed by this thing's audacity.

anyway. smash.

[mscoyditch]

"Female Anna's hummingbird hatched this year. Floyd Lamb Park at Tule Springs. A special thanks to Jeanne R. Tinsman for help with the ID".

(c) Russ Colletta > Nevada Photographers Group

[goforcrypto]

NEM Community in Uproar as Prez Takes 6-Month Paid Sabbatical

NEM Foundation President Alexandra Tinsman announced plans to take a 6-month paid sabbatical amid large-scale restructuring of the coin’s operations.

Sections of the NEM (XEM) community were in uproar this week after NEM Foundation President Alexandra Tinsman announced her intention to take a 6-month paid sabbatical. 

Tinsman’s decision to step back from the day-to-day running of the foundation…

[christianityculturecults]

Knowing When It's Time

Brothers and sisters, “Go out from her, my people, lest you take part in her sins, lest you share in her plagues” (Revelation 18:4, ESV). Every story has an end—whether it’s an old car you’ve nursed along, its engine failed twice, its transmission slipping, and rust creeping through every panel, or a beloved pet, once full of life, now blind, deaf, unable to walk, in pain. In both cases, we…

[markrosewater]

Hello there, Mark! I wish you a great week!

I was reading the list of sets that Brian Tinsman led, and I was going to ask you a question about them when I realized that I’m missing a important piece of information. Consider that the question is about the time when Brian led the design of sets, so my use of the term "design" might not fit the system you currently have a place.

Most of the cards in a set are commons and uncommons. Very few of these go on to make a dent in competitive formats, which means that commons and uncommons define the limited gameplay of a set. Therefore, since the design of a set is mostly about commons and uncommons, design mostly deals with limited gameplay, am I right?

Thanks a lot for everything that you do!

The early part of design (how we break things up has changed since Brian was at Wizards) is more about structure and theming that about the final costs and balance, so we do tend to focus more on limited.

[fyeahshelovesme]

laurabenanti: INTERMISSION KITCHEN EPISODE 5 (starring @victoria_tinsman, @handsewnhome and me! Special guest stars @tmcgowan726, #GavinCreel and #PeterBartlett!) #ToiletSash #BetterEnding (x)

[hvancouve]

https://t.co/wzCJePO8pD Free credit repair counseling in Tinsman, Arkansas call (888) 502-1260 fix bad credit, free consumer report, remove bankruptcy, improve credit score, check your credit report online. Can Bad Credit be Deleted? Yes, it can. Despite the fervent proclamatio…

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from Twitter https://twitter.com/lduque5 December 10, 2017 at 07:02AM via Credit Repair

[circusfans-italia]

ALMANACCO DEL FESTIVAL DI MONTECARLO – 4° EDIZIONE 1977

ALMANACCO DEL FESTIVAL DI MONTECARLO – 4° EDIZIONE 1977

8-12 dicembre 1977 GIURIA - Principe Ranieri III di Monaco, Presidente - John Ringling North - Raf Vallone - Cary Grant - Horst Buchholz - Jacqueline Cartier PALMARES DEL FESTIVAL CLOWN D’ORO FAMIGLIA KNIE - LA GRANDE CAVALLERIA CLOWN D’ARGENTO LES ANTARES - ACROBATI SULL'AEREO I CANESTRELLI - TRAMPOLINO ELASTICO I CARILLO BROTHERS - FILO ALTO I KRISTOF - MANO A MANO ALLA BASCULA I SILAGIS - BASCULE Nonostante l’amarezza per il mancato triplo salto mortale di Ketty Jarz (prima donna ad aver eseguito questa prodezza), sarà ricordato come un Festival importante, con una nutrita partecipazione italiana e la meritata vittoria del Clown d’Oro dalla famiglia Knie presente con tanti grandi numeri (cavalli, tigri, elefanti, tigri sugli elefanti). Nutrita la partecipazione italiana che vede sul podio i Canestrelli in una rara reentrée dagli Usa da dove ormai risiedono da 20 anni. Apprezzamenti anche per i Forgione-Macaggi. In giuria le star del cinema Cary Grant e Raf Vallone impreziosiscono l’evento con un tocco di mondanità. La Giuria premia con un riconoscimento alla carriera l’iconico clown americano Lou Jacobs, il cui volto è l’emblema del circo sui manifesti di tutto il mondo. La famiglia di Ferdinando Togni è saldamente in capo alla parte tecnica, logistica e direzione di pista e presente con i nuovi chapiteau bianchi. Tra i grandi nomi sul podio, Istvan Kristof e sua moglie con i numeri di pertiche e bascula a due. Si tiene la seconda riunione dell’Associazione dei Direttori di circo di tutto il mondo. Siamo negli anni d’Oro del Festival! ELENCO PARTECIPANTI 1977 Sergio Mr Loyal Forgione-Macaggi Charivari - clowns Barry Lubin  Clown Tinsman Jim Clown Luis Munoz  Filo teso Donnert Lilla, Elefante barbiere Segregas (La troupe) Equilibrio sui rulli Herman's (La troupe) Pertiche Freddy Quinn  Cantante sul Filo alto Seitz Jo Filo alto Fredy Knie Sr  Cavalleria - Alta scuola Louis Knie  Tigri ed Elefanti Buby e Jule Clowns Miss Dawne  Pappagalli Bremlov Giocoliere Germaine, Louis e Franco Knie Elefanti Reumatics (La troupe) Acrobati Macaggi Saltatori Rhodin Jack Scimpanzé Antares (La troupe) Acrobati sull'aereo Rodriguez Tino Trapezio - Corda aerea Lou Jacobs Clown Canestrelli (La troupe) Trampolino elastico Carrillo Brothers Filo alto Otto (La troupe) Charivari - Bascule Li Suang Corda elastica cinese Clive Otarie Gérard Edon  Trapezio washington Banda Vidane  Elefanti del Circo Americano (Togni) Istvan (La troupe) Pertiche Ketty ed Emilio Jarz Trapezio volante Lee Pee Ville Grandi illusioni Silagis Saltatori Waldemar Volteggio a cavallo Duo Carrington  Barboncini Arild Arnardo Acrobata comico alla corda Duo Kristof Mano a mano alla bascula Barry Lubin e Tinsman Jim Clowns Marcel Peters Belve feroci Dolly Jacobs  Anelli Segreras (La troupe) Trapezio volante

FAMIGLIA KNIE

LES ANTARES

I CANESTRELLI

CARRILLO BROTHERS

IL DUO KRISTOF CLOWN D'ARGENTO

SILAGIS

CLOWN LOU JACOBS FREDDY KNIE SR.

MARCEL PETERS

LOUIS KNIE TIGRI & ELEFANTI

I SILAGIS

FRANCO & LOUIS KNIE

FAMIGLIA KNIE

KETTY JARZ GIRA UN DOPPIO E MEZZO

ARILD ARNARDO

LA FAMIGLIA TOGNI

Gerard Edon

Le tigri di Louis Knie

Luis Munoz Credit della IV edizione del Festival: - Alain Frere, consigliere tecnico addetto alle relazioni con gli artisti - Irvin e Kenneth Feld, consiglieri artistici - Enis Togni, direttore delle installazioni tecniche e della regia di pista - Edoardo Murillo, assistente - Billy F. Arata, consulenza artistica - Franco Medini, consulenza artistica

Credit photo Serge Fleury e Archivio Circusfans Credit video archivio Maurizio Colombo ALMANACCO DEL FESTIVAL DI MONTECARLO – 4° edizione (1977) Se questo articolo ti è piaciuto condividilo sui tuoi social utilizzando i bottoni che trovi qui sotto   Read the full article