latrhend vinsen ragnvald
Tarja Hempton
Vendetta has been getting even in English since the 19th century, when it first was used to refer to feuds between different clans or families. It later extended in meaning to cover acts that are known to feature in feuds of all kinds. English speakers borrowed vendetta, spelling and all, from Italian, in which it means "revenge." It ultimately traces to the Latin verb vindicta, of the same meaning. That Latin word is also in the family tree of many other English terms related to getting even, including avenge, revenge, vengeance, vindicate, and vindictive.
English is my second language, so I expect a lot of strange wordings and awkward sentence structures, grammar mistakes, and also typos I would also love to hear your thoughts on the story so far and any feedback for improvement Also, this is my first experience in coding, so, please tell me if there are any pronoun errors that managed to slip through and any other coding errors you found.
Halloween Special Interactive Side Story has just been released! Please read more about it and where to read it in this Tumblr Post here! The post also contains the sneak peek and snippets of it!
This is your tale, Revenger, and you will decide how you will seize your well-deserved vendetta. Will you finally break the vicious cycle and rise above it all? Or will you become another part in the long blood-soaked cycles of vendetta?
You will play as the child of an ex-vigilante (who was also the heir of a criminal family) and a famous and legendary superheroine. You are lucky enough to be born with two abilities: Gravikinesis (gravitational field manipulation) and Umbrakinesis (shadow manipulation).
Your English is better than some primary speakers. As mentioned earlier the tense changes a fair bit which is slightly disorienting, but the vocabulary used is pretty exceptional and the dialogue flows very naturally. This is a really cool WIP so far and I wish you good luck on it.
During the 19th century, one vendetta even threatened to degenerate into civil war, but 100 feuding families were persuaded to sign a peace treaty in 1879. The last recorded vendetta incident took place in 1954 after rival families swapped insults at a funeral and started a brawl in which several people were killed.
Olmeto in the southwest of the island is no exception. This atmospheric town is now somewhat marred by a main road slicing through it. But you soon leave that behind if you go up or down the terraced levels.
Prosper Mrime fictionalised her story. The eponymous heroine of Colomba is young and beautiful but bloodthirsty and formidable. Following the murder of her father, she tries to incite her reluctant brother, recently returned from the Napoleonic Wars, to avenge his death. Colomba is also a voceratrice, who improvised mourning songs at funerals. She uses the death of a neighbour to stir up the menfolk with her song calling for revenge.
Balzac (La Vendetta) and Dumas (Les Frres Corses) also wrote novels about vendetta. Both dealt with the theme of expatriate Corsicans who were unable to escape from the cultural traditions of their homeland.
Is the liberal democratic welfare state the end of history, as was famously claimed by Francis Fukuyama in his 1992 book The End of History? Are war and suppression of civil rights something of the past, or at least something far away abroad? Will our children and their children continue to live their lives in peace, freedom and comfort?
In 1944 Karl Popper published his two volume book The Open Society and Its Enemies. An open society is one which facilitates individual freedom of expression and action. Although it was written during World War II, Popper did not mention Nazism and fascism directly. Instead he investigated the ideas which lead to totalitarianism, which means a closed society, where freedom of expression is suppressed. The enemies Popper discusses in his books are not Hitler and Mussolini (and one can make a much longer list of 20th century dictators with totalitarian ambitions), but three philosophers: Plato, Hegel and Marx. According to Popper these philosophers paved the way for totalitarianism by opposing democracy and individual freedom.
Studying history and hypothetical worst-case scenarios can strengthen the case for the open society. If viewed with philosophical spectacles, a film like V for Vendetta (2005) can also stimulate reflection on the preciousness of an open society and individual freedom. And it is much better to watch a movie than to have to experience a totalitarian, closed society for real.
Society under the Norsefire regime is typical of totalitarian states: the secret police is the executive arm of Big Brother, and the media is under state control and is used for propaganda purposes. The Norsefire regime has a socially conservative agenda: the church enjoys the patronage of the state, like the Vatican under Mussolini. Homosexuality is forbidden and actively suppressed. Freedom of art and expression are taboo as in any closed, oppressive society. In his underground hiding-place, V has a Library of Forbidden Books and a Museum of Forbidden Art.
There actually is a Virtual Museum of Offensive Art on the internet (verlichtingshumanisten.web-log.nl/museum_kwetsende_kunst). This exhibits art works which have been censored, or which have been called to be censored, or which some people find offensive. In a closed society, such works would be forbidden. It is therefore a worrying portent that due to public calls for censorship, our museums have begun to censor themselves. It is crucial that in an open society there is freedom of expression, even when offensive to some.
What is permissible when opposing oppression? When is assassination or terrorism justified? The film explores many such questions without fully answering them. The mask chosen by V is the face of Guy Fawkes, a Catholic rebel who on November 5th 1605 tried to blow up the Houses of Parliament in London to end the reign of James I, who suppressed the Catholics. Fawkes was publicly executed. Guy Fawkes Night is still marked by fireworks and bonfires in the UK and some other Commonwealth countries.
V takes up where Guy Fawkes failed. He is a lonely, single-minded resistance fighter who wants to take revenge on those who tortured him and the other experiment victims. In his personal vendetta he kills all his torturers. Secondly, he wants to overthrow the fascist regime to restore freedom. So he plans to blow up the Houses of Parlia ment on the night of November 5th, hoping to spark an uprising.
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Traversing the gritty streets from Chicago to Las Vegas, Annabelle Lopez Ochoa's latest ballet is a tempestuous saga where mafia families clash in a dance of destiny. 'Blood calls for blood,' they say, and Ochoa's choreography is steeped in this vendetta. She invokes the shadows of West Side Story and The Godfather, not merely as references but as compass points, guiding us through the murky waters of power and revenge in the 1950s.
Ochoa's genius lies in her narrative alchemy, which seamlessly melds the smoky allure of cabaret with the raw energy of street brawls. This ballet is not just a performance; it is a theatrical revelation, a smorgasbord of the spectacular and the solemn. Ochoa doesn't just choreograph movements; she sculpts emotions, each step a testament to her acclaimed mastery.
The music itself is a protagonist here, a vibrant tapestry ranging from the dizzying spins of a waltz to the sultry embrace of a tango. We move from the genius of Piazzolla to the timeless Bach, each note carrying the weight of the narrative. It's a cinematic journey, a seamless blend of the shadowy intrigue of film noir, the wild heart of vaudeville, and the undeniable charm of Broadway. It's a symphony of movement, a dance of light and shadow.
When Napoleon Bonaparte died in exile in 1821, he took to the grave a powerful secret. As general and Emperor, he had stolen uncountable riches from palaces, national treasuries, even the Knights of Malta and the Vatican. In his final days, his British captors hoped to learn where the loot lay hidden. But he told them nothing and in his will he made no mention of his treasure.
Former-Justice Department operative Cotton Malone is about to find out after trouble comes knocking at his Copenhagen bookshop. Actually, it breaks and enters in the form of an American Secret Service agent with a pair of assassins on his heels. Malone has his doubts about the anxious young man, but narrowly surviving a ferocious firefight convinces him to follow his unexpected new ally.
Their first stop is the secluded estate of Malone's good friend, Henrik Thorvaldsen. The wily Danish tycoon has uncovered the insidious plans of the Paris Club, a cabal of multi-millionaires bent on manipulating the global economy. Only by matching wits with a terrorist-for-hire, foiling a catastrophic attack, and plunging into a desperate hunt for Napoleon's legendary lost treasure can Malone hope to avert international financial anarchy.
But Thorvaldsen's real objective is much more personal: a vendetta to avenge the murder of his son by the larcenous aristocrat at the heart of the conspiracy. Which places Malone in an impossible quandary-one that forces him to choose between friend and country, past and present. Starting in Denmark, moving to England, and ending up in the storied streets and cathedrals of Paris, Malone plays a breathless game of duplicity and death, all to claim a prize of untold value.
He fought to ignore the pain and focused on the plaza. People rushed in all directions. Horns blared. Tires squealed. Marines guarding the nearby American embassy reacted to the chaos, but were too far away to help. Bodies were strewn about. How many? Eight? Ten? No. More. A young man and woman lay at contorted angles on a nearby patch of oily asphalt, the man's eyes frozen open, alight with shock-the woman, face down, gushing blood. Malone had spotted two gunmen and immediately shot them both, but never saw the third, who'd clipped him with a single round and was now trying to flee, using panicked bystanders for cover.