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Subtitle The Man In The Iron Mask REPACK

Meanwhile, the gold shipment arrives in the village, accompanied by two skilled warriors, the Geminis. The Lions soon confront the Geminis and their men, and in the ensuing fight, Poison Dagger assassinates the Geminis and the Lions capture the gold. Jack later arrives to investigate the incident and learns that the Geminis were poisoned with mercury-tipped weapons, leading him to the blacksmith. The Lions' theft prompts the governor to send his Jackal troops to recover the shipment or destroy the village. Zen-Yi asks the blacksmith to craft him a new suit of weaponized armor. The Lions suspect that the blacksmith is helping Zen-Yi and have him tortured for information. The blacksmith refuses to talk, and Brass cuts off his forearms. Jack, who had been following the blacksmith, saves him from bleeding to death. While the blacksmith recovers, he tells Jack of his past as an emancipated American slave who accidentally killed a white man who refused to let him go. He fled America by boat and went to China, where monks trained him to use his body's energy to perform superhuman feats. Jack with the aid of the blacksmith crafts his greatest weapon: a pair of iron forearms that he can animate using this energy.

subtitle The Man in the Iron Mask

Zen-Yi recovers and joins Jack and the blacksmith. Meanwhile, Blossom offers to let Silver hide the gold in a secret tomb beneath the brothel in return for payment. The gold is stored in a coffin which is raised up to the rafters. That night, Blossom has her girls serve the Lions, and Silk serves Brass. At Blossom's signal, the girls use weapons hidden in their mouths to poison many of the Lions, and they join with Blossom as the Black Widows. When Silk tries to poison Brass, his skin protects him, and he beats and almost kills her. Zen-Yi, Jack, and the blacksmith arrive and join with the Black Widows to fight the remaining Lions while Blossom and Bronze fight and kill each other. While fighting Jack, Poison Dagger is crushed to death between large moving gears. Silver and Zen-Yi fight in the tomb; Zen-Yi cuts the coffin free and it crushes Silver, killing him. The blacksmith finds Silk, who dies in his arms. He confronts Brass, and his iron fists prove capable of inflicting damage on Brass' seemingly invincible body. While Brass is in metal form, a powerful punch from the blacksmith shatters him to pieces. Jack runs outside in time to stop the soldiers from decimating the building with Gatling guns.

The film used mostly practical special effects in preference to CGI. An effect in which Yune's character kills six opponents whose airborne blood spray spells out "revenge" in Chinese, was specifically written to use CGI. RZA declined to subtitle the message for English audiences.[27] The action scenes resulted in several injuries, and Bautista suffered raw and bleeding arms from RZA's sandpaper-like prop iron fists during their fight scene.[36]

The Iron Man: A Children's Story in Five Nights is a 1968 science fiction novel by British Poet Laureate Ted Hughes, first published by Faber and Faber in the UK with illustrations by George Adamson.[1] Described by some as a modern fairy tale,[2] it narrates the unexpected arrival in England of a giant "metal man" of unknown origin who rains destruction on the countryside by eating industrial farm equipment, before befriending a small boy and defending the world from a dragon from outer space. Expanding the narrative beyond a criticism of warfare and inter-human conflict, Hughes later wrote a sequel, The Iron Woman (1993), describing retribution based on environmental themes related to pollution.

The first North American edition was also published in 1968, by Harper & Row with illustrations by Robert Nadler. Its main title was changed to The Iron Giant, and internal mentions of the metal man changed to iron giant, to avoid confusion with the Marvel Comics character Iron Man. American editions have continued the practice, as Iron Man has become a multimedia franchise.

Most missions take place in open areas, requiring you to complete objectives while fending off waves of enemies. As you turn at all angles and adjust your height, the frantic pace can be disorienting. The controls are imprecise if you physically turn around (and away from the sensors), but the only alternative is using the buttons to manually turn and readjust the camera, which completely ruins the thrilling sense of presence the game is intended to create. Even near the end of the campaign, as I began to feel like an expert in the flight controls, I often went soaring into walls and struggled to keep up with the more nimble bosses, fighting in environments full of beams and pillars. These encounters rarely resulted in my defeat, but they went on far longer than they held my interest.

Note: If you have trouble viewing the notes, use the non-Java transcript. Part 1-A Mardi Gras run. A capitaine (Morris Ardoin) and costumed men gather chickens and other provisions around the community for a gumbo and dancing party. In the opening scene "Bois Sec" Ardoin and Canray Fontenot are at the edge of the group, neither man wearing a costume or mask. Ardoin holds his accordion and Fontenot his fiddle.

A man wearing a cowboy hat and jumpsuit comes out of a store and tosses coins onto the ground in front of the masked Mardi Gras group. They are laughing, talking, and singing, mostly in French. The capitaine collects the coins from the men.

The young boy takes the coin over to the capitaine, who is holding a bag of Louisiana Rice, and hands the coin to him. The violin starts up again, playing a waltz. Canray Fontenot is playing "Lovebridge Waltz" as the maskers dance in couples in the driveway in front of the store.

Back in the truck on the road, the Mardi Gras troupe meets a group of Cajun celebrants led by a white capitaineon horseback, wearing a cowboy hat and big black cape and waving a white flag. The men that follow the Cajun capitaine on horseback are singing and drinking beer. They are costumed and masked. Some are young; one is on a pony. The two groups of Mardi Gras celebrants are traveling in opposite directions and exchange greetings in French as they pass.

Young Cajun horseman (singing "The Mardi Gras Song" in French with English subtitle): The Mardi Gras comes but once a year, once a year, asking for charity from the master and mistress, even if it's just a small sweet potato, a small sweet potato and some cracklin'.

Another group of partying Cajun participants approaches, also traveling in the opposite direction. They are sitting and standing on an open trailer pulled by a John Deere tractor. Most are costumed and masked. The tractor driver, in blackface, stops the tractor to tip his hat and speaks in French. The two groups wave, tip hats, and greet each other as they pass. The men riding on the trailer begin to dance to what sounds like recorded music. They are followed by another capitaine also wearing a big black cape and riding on horseback. A Budweiser van follows the cloaked capitaine, playing "Lovebridge Waltz" through loud speakers on top. As the van passes them, through the open rear doors, the men in the truck can see a fiddler playing inside the van.

Close-ups of dancing couples, including the sheriff, on the crowded dance floor. None are costumed or masked. Adults and children, including a young girl, sit on pew-like benches around the dance floor's perimeter and watch the dancers. Both dancers and onlookers are dressed up, though not in formal wear.

So if you want your book to fly off the proverbial shelves, make sure your title -- or subtitle -- paint a clear picture about who the book is meant for and what it does. Ambiguity is not your friend in nonfiction.

And for those of you having a difficult time shortening your book title, you can also include a subtitle as you saw in the above examples. Subtitles help you keep your title short while still fitting pertinent information onto the front page of your book.

This is where you can add your main image (or video), a subtitle, and update your background image or color. Just use the form fields in the left-hand sidebar. Your changes will automatically appear in the main display to the right.

The habit of combining one- or two-word titles with a subtitle for foreign release so the public will have a better idea what the work is about. It's a way to give people who haven't heard about the original work an idea of the premise without making it unknown to the people who do know the original work by name. Sometimes the subtitle is a direct translation of the original title (if it is kept in the original language), making the name redundant, or it may be something that explains the plot.

  • Live-Action TV Arrested Development: Ti presento i miei... (which loosely translates to "Let me introduce you to my relatives")

  • Beetleborgs: quando si scatena il vento dell'avventura (When adventure's wind is unleashed)

  • Cold Case: Delitti irrisolti (Unsolved crimes)

  • ER: Medici In Prima Linea (Physicians on the front line)

  • Get Smart: Un detective tutto da ridere (A totally laughable detective)

  • Ghost Whisperer: Presenze (Presences)

  • JAG: Avvocati in divisa (Lawyers in uniform)

  • Leverage: Consulenze Illegali (Illegal Consulences)

  • Masked Rider: Il Cavaliere Mascherato (The Masked Knight)

  • NCIS: Unità anticrimine (Crime fighting unit)

  • Scrubs: Medici Ai Primi Ferri (Rookie physicians, "ferri" meaning "irons" or "surgical tools")

  • White Collar: Fascino Criminale (Criminal Charm, a pun on the fact that Neal is really hot and the fact that he uses such charm to get things done his way)



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