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Al is a holy knight, a warrior charged with protecting the innocent from the hordes of ravenous monsters terrorizing the lands. He was, anyway… After being bitten by an undead creature, Al dies–but not for long. Al awakes as an undead, cursed to live an undying life as a mindless monster. However, unlike ordinary undead, for some mysterious reason he retains his mind and sanity. Three hundred years later, flesh rotting off to reveal a living skeleton, Al meets Astrantia. As a descendant of a witch, Astrantia offers to restore his body on one condition: he must agree to become her knight and help her put an end to the unholy curse once and for all. Alongside Astrantia, Al enters an academy for training saints—teams of holy knights and holy women who fight to rid the world of the undead. Al must hide his identity as an undead—the very thing everyone in the school seeks to eradicate—in order for Astrantia to succeed and keep her word. Keeping his secret under wraps proves to be as difficult as hiding his lack of flesh but, if there’s one thing he can’t hide, it’s the strength he’s been honing for the past three hundred years!
Even after being transformed into one of the Twelve Corpses, Al remained a holy knight, and to this day, he fights to protect humanity. After defeating the Pestilent Guardian Dragon, he and his master, the holy woman Astrantia, were granted the title of White. Not long after, they encounter the newest duo to join the Twelve Saints: Theophilus, a member of the Twelve Corpses like Al, and his holy woman, Nemophila. Despite Theophilus’s constant obedience, Nemophila requests Al to kill him. Amid a holy woman’s plot to kill her holy knight, Al and Astrantia take on a mission to kill yet another member of the Twelve Corpses—the One-Armed Giant. They must navigate this complex web of circumstances and do everything in their power to ensure humanity’s safety!
Before going to college, an ordinary high school student went to celebrate and got drunk. When he woke up, he found himself in a completely different world. There was a big sect, the approaching sect entrance examination, a slum where his body’s previous owner lived, and a shared memory about a missing young girl. When he got tangled in a fight with a few punks in this different world, he fell off a cliff and miraculously found himself still alive, with two more voices ringing inside his head. They were Sword Master and Saber Master. In the company of them, he continued to find out more about this whole new world. He took the sect entrance examination, entered the sect, met a strange man in black, and even participated in a major competition of the sect to have a chance to win over his peers! In this whole new world, he was born again and got to explore the fantastic martial world!
In China on Screen, Chris Berry and Mary Farquhar, leaders in the field of Chinese film studies, explore more than one hundred years of Chinese cinema and nation. Providing new perspectives on key movements, themes, and filmmakers, Berry and Farquhar analyze the films of a variety of directors and actors, including Chen Kaige, Zhang Yimou, Hou Hsiao Hsien, Bruce Lee, Jackie Chan, Maggie Cheung, Gong Li, Wong Kar-wai, and Ang Lee. They argue for the abandonment of "national cinema" as an analytic tool and propose "cinema and the national" as a more productive framework. With this approach, they show how movies from China, Hong Kong, Taiwan, and the Chinese diaspora construct and contest different ideas of Chinese nation--as empire, republic, or ethnicity, and complicated by gender, class, style, transnationalism, and more. Among the issues and themes covered are the tension between operatic and realist modes, male and female star images, transnational production and circulation of Chinese films, the image of the good foreigner--all related to different ways of imagining nation. Comprehensive and provocative, China on Screen is a crucial work of film analysis.
What is reality? The reality is that there are only one or two moments in life that are wonderful.What is a novel? The novel is the protagonist's life again and again wonderful;What do you do when you are alone in a strange world, when you have the power to shock the world, when you cry like a ghost, when you have the medical skills to achieve perfection, when you have the skills to return to the world?Will you bring beauty to the world?You will fight for hegemony and point the finger at the world?You will roam the martial arts world and you will be filled with kindness and hatred? Let us follow the steps of the protagonist, and experience the brilliance again and again
An extensive and thorough study of the origins, development and usage of the glamorous two-edged knightly sword of the European middle ages, with a complete typology. Spanning the period from the great migrations to the Renaissance, this book presents a selection from a very large body of photographs and research and gives a full and detailed record of the swords of that turbulent time.
The sword has played an important role in the Japanese consciousness since ancient times. The earliest swords, made of bronze or stone, were clearly, by their design and form, used for ritualistic purposes rather than as weapons. Later, swords were associated only with the warrior class, and lack of physical strength and battle experience was compensated for by handling the sword in a way that was technically expert. Besides this sacred and artistic status, swordsmanship also acquired a philosophical reinforcement, which ultimately made it one of the Zen ‘ways’. Zen Buddhism related the correct practice of swordsmanship to exercises for attaining enlightenment and selfishness, while Confucianism, emphasizing the ethical meaning, equated it to service to the state. This classic text, first published in English in 1978, includes a history of the development and an interpretation of Japanese swordsmanship, now esteemed as an art and honoured as a national heritage. It describes in detail the long, intensive and specialized training and etiquette involved, emphasizing and explaining the importance of both Zen and Confucian ideas and beliefs.
Oxbow says: This study re-evaluates many of the misconceptions about the war-crazed Iron Age warrior hero, and questions anew the role of hillforts as truly, or primarily, defensive structures. Taking a regional approach to Middle Iron Age warfare, Finney examines hillforts and weaponry from lowland Britain.
One of the most important teachers of historical swordsmanship, Stephen Hand has delivered what may well be his Magnum Opus, a detailed study in text and photographs of his best form, the swordsmanship of the 16th century English swordmaster, George Silver. In nearly 800 photographs, Mr. Hand explores the depth of Silver's technique, presenting for the student a clear and concise path to fighting with the single-handed sword. These techniques are from the same period as William Shakespeare, and it is even supposed that Silver had something to do with the staging of swordsmanship in Shakespeare's plays. So these techniques should have special interest to those involved in swordplay on the stage. Students of fencing history, members of the SCA, LARPS, or students of Renaissance history will also find this first-ever exploration of Silver's amazingly effective techniques surpremely valuable.