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natlacentral · 7 months ago

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Mastering the Elements for Avatar: The Last Airbender

Michael Goi, ASC, ISC was not planning to be one of the series’ cinematographers when he signed onto Avatar: The Last Airbender as an executive producer and producing director, but the need for such expertise became apparent very early on in prep — well before any cinematographers had been hired.

The Netflix production is a live-action adaptation of the popular animated series by Michael Dante DiMartino and Bryan Konietzko, and it called for a combination of backlot, traditional-soundstage and Vancouver-based location work — as well as additional capture on an 80'x27.5' ICVFX stage built by Pixomondo and William F. White International at the Canadian Motion Picture Park in British Columbia.

For the ICVFX work, “some of the visual assets had to be lit approximately one year before the show was to be filmed,” Goi recalls. “I emphasized to production that a cinematographer needed to fulfill that responsibility. I said, ‘We can’t light the environments without a cinematographer.’”

Series showrunner Albert Kim, who brought him onto the project, suggested Goi could provide that expertise. The cinematographer recalls responding, “Only if I’m credited, paid and acknowledged as being the director of photography.

“It was important to me to make the statement that you need to have a cinematographer involved at the very beginning of a virtual production, when the lighting is being designed,” he continues. “You don’t want the cinematographer to come in later and be relegated to simply duplicating visual approaches that were arbitrarily made long before they were hired. Cinematographers have a creative contribution, and it should come at the beginning of the creative cycle. Happily, the production agreed.”

Ultimately, Goi directed and shot Episodes 1 and 2, and the series’ cinematography team was rounded out by Michael Balfry, CSC (Episodes 3, 4, 7 and 8) and Stewart Whelan, ISC (Episodes 5 and 6). “I was looking for cinematographers who could embrace the varied styles of the worlds in the show and give it an epic look,” says Goi. “Because of the ages of some of the actors, the cinematographers also needed to be able to work quickly despite the large number of technical challenges. Michael Balfry and Stewart Whelan checked all those boxes and were able to accommodate the checkered prep schedule required by the virtual-production asset development.”

The other directors were Jabbar Raisani (Episodes 3 and 4), who doubled as an executive producer and visual-effects supervisor; co-executive producer Roseanne Liang (Episodes 5 and 6); and Jet Wilkinson (Episodes 7 and 8).

Avatar is set in a fictional realm where humans exist in four nations, each based on an element of nature: Water Tribes, Earth Kingdom, Fire Nation and Air Nomads. Within each faction are “benders,” who can manipulate their respective elements telekinetically. An Avatar is a bender who has mastered all four elements. Twelve-year-old Aang (Gordon Cormier), the last surviving Air Nomad, has been determined to be the next Avatar.

Goi, a longtime fan of the animated series, was keen to “make sure we made something the hardcore fans would appreciate and embrace,” he says. “In my pitch session, I talked about the essence of the show and what I wanted to make sure translated into the live-action version — like how the fights were choreographed, how they were composed, and the color palette of certain scenes.

“I always loved in the animated show when there’d be this big fight going on, and they’d go to this high-angle view and you’d see the two different-colored beams of telekinetic elemental energy colliding in the middle,” Goi adds. “Those were things I wanted to make sure were represented in the show.

Traditional Techniques Another creative choice of Goi’s was to root the visual approach in traditional cinematography methods — some dating even to the silent era. “I’m a huge fan of silent movies, and I’m a big fan of doing things in-camera,” he says. “I never went into Avatar thinking that everything was going to be a huge digital effect. How we shot the show was going to be, for me, a mix of high technology and cut-and-paste filmmaking. Keeping a hands-on approach made me, in some ways, feel closer to what the characters were experiencing.

“Also, as visual processes become more perfected, I love embracing non-perfection as a way of helping the viewer feel that what they are watching was created by people, not machines.”

Elaborating on some examples of his “cut-and-paste” approach on Avatar, Goi continues, “I used foreground miniatures in some instances to create a sense of size and scope while also doing the work primarily in the camera. The statue of Yangchen was a bust that was only 2 feet high, but it looks like a 40-foot statue in the final shots. This was accomplished by using a 10mm lens at T22, so that everything from 10 inches to infinity was in sharp focus.

“Similarly, when our heroes travel to the island of Kyoshi in Episode 2, the statue of Kyoshi is intended to be 150 feet tall. To create that impression, we put a miniature bust of the statue on a high-roller stand and used a telescoping crane to circle the head and look down at actors walking below, again using a 10mm lens.”

Goi’s love of Buster Keaton movies came to the fore in planning an Episode 1 sequence in which Katara (Kiawentiio) and Sokka (Ian Ousley) are in a boat that gets swept up on a wave and carried into a massive ice cave, where they’re ejected from the boat as it hits an ice shelf.

“In our preproduction talks, I was told that was potentially the most expensive shot in the entire episode,” Goi recalls. “I said, ‘There’s not going to be any CGI in this shot.’ And they said, ‘How can you do that?’ I said, ‘It’s very simple: We have the boat, a physical piece with stunt performers in it; we have the ice shelf, a practical build by production designer Michael Wylie; and we have the ice cave on the LED wall, a virtual-production asset we’ve already accounted for. All we do is put the boat on some wheels, tie a rope to the wheels, have a couple of crewmembers pull the rope, and the boat slides across the studio floor, hits the ice shelf, and then the stunt people are ejected out.’

“They said, ‘What about the water?’ And I said, ‘We build a 4-by-4-foot water trough and put it in front of the camera with a 70mm lens with a split diopter on the bottom — probably a +2 — and then we pan across with the water in the foreground and the boat farther back, but both appearing onscreen to be at the same depth within the frame.”

“When they said, ‘What about the wave that propels the boat?’ I said, ‘Two crewmembers with 5-gallon buckets of water stand on the side, and on “Action,” they pour the water into the water trough, creating the wave — and the other crew pull the rope to move the boat.’

“And they were like, ‘Really? This is going to work?’ And I said, ‘Yes, it worked in the 1920s for Buster Keaton. It’ll work!’

“So, that’s what we did, and it ended up being the first shot on the very first day of filming. When we shot it, everybody’s eyes were glued to the monitor. At the end, when the stunt performers got ejected, everybody applauded, and they said, ‘Wow! It’s great that you knew how to do that!’ I said, ‘I’ve never done that before. It seemed like it would work in theory, and it certainly seemed like it would be much more fun than doing it another way!’”

Complementary Anomalies After testing a variety of cameras, the production chose the Sony Venice, which Goi favored “because I like the color space, and it gave me a built-in level of contrast that I felt was easiest to work with.” The three cinematographers also agreed that shooting anamorphic would “give us the kind of visual anomalies that complemented the feel of the show.”

After choosing Panavision T Series lenses “for their high resolution and visual perfection,” Goi started seeing “a lot of moiré in our virtual-production tests — regardless of focal length, regardless of distance to subject. I was told VFX had a provision in their budget for digital fixes, but I was concerned that this was happening in almost every shot. So, I called [ASC associate and Panavision’s senior vice president of optical engineering and lens strategy] Dan Sasaki. Dan said, ‘Pack up all your lenses and send them to me.’ We did, and he tweaked just the right element at just the right angle and sent them back, and we had virtually no moiré issues from that point on! And we had full resolution, which is what we wanted. It’s not an understatement to say that Dan Sasaki saved the production millions of dollars, because that would have been a lot of digital fixes!”

The show’s final 2.20:1 aspect ratio was an evolution of sorts. The filmmakers originally wanted to frame in 2.39:1, but Netflix requested 2.0:1 to accommodate their various markets and distribution platforms. “Ultimately,” says Goi, “the show was distributed in 2.20, which helped deliver the big-screen look we wanted without compromising their distribution platforms.

“Light It Like a Normal Show” Cinematographer Whelan was new to shooting on an LED volume and excited about exploring its potential. First, though, he needed to familiarize himself with Avatar’s source material. “It was super exciting when the project came across my path,” he recalls. “I had to go and watch [several] years’ worth of animations, which was a lot of fun!

“I just loved Michael Goi’s approach to the show,” Whelan continues. “He said, ‘You just light it like you’re lighting a normal show.’ They had the stage in a constant prep/test mode with a full kit and crew there with a camera, so we were able to go in and see through our lenses what the virtual sets would look like on the LED walls.”

He observes that the Panavision T Series anamorphics were particularly well suited to the production. “The combination of a little-bit-older anamorphic glass with the Panavision characteristics and bokeh — the sheer beauty of those lenses — softened the image, but created a very authentic feel for the in-camera composites. I felt like I was living in these environments and able to take the audience to places that we could never actually go with a camera.”

On the experience of virtual production and ICVFX with LED walls, cinematographer Balfry says, “It’s really nice to have your set or location there behind you [when you’re shooting], because then you know how it feels. When you’re doing greenscreen, you’ll plan the motivating light, but once [the shot is] out of your hands, you just hope there’s continuity between the lighting and what they create in the background. It was really fun to be able to see our [virtual] sets while we were shooting. I felt like I was part of the whole image process.”

Whelan strove to incorporate as much film lighting as possible. “The screens are very useful, but I think it’s a misconception that you can light [entire scenes] with them,” he says. They’re great for the wide shots, but as you come in, you end up using a lot more traditional lighting.

“The stage ceiling had a beautifully devised latch system where you could hinge up the panels, and above that was a complete lighting rig,” Whelan continues. “We plumbed that rig for every kind of light we wanted — a Fresnel or an LED, and big guns like Creamsource Vortex8s and Arri SkyPanel 360-Cs, four to eight of them in a bank to create volumetrics of light. In addition, [key grip] John Westerlaken put in rigging that allowed us to put up flaps, even in front of the lighting, and drop in diffusion like 40-by-40s, 40-by-20s or 40-by-12s underneath the lighting to soften things in a very natural way.

“Also, the lighting units were built on scissor rigs so they could be lowered in below the ceiling when we needed. We’d use the walls for the wides, and when we went in for close-ups, the rigging would drop down behind us so we could light quickly with movie lighting from lower down without bringing it in on the floor. I didn’t steer away from hard light, either — I just made sure to never pollute the screens with it.”

Maximizing Space The production’s massive LED virtual-production stage occupied almost two-thirds of the stage space, leaving little room for production designer Wylie and his crew to change out practical sets.

“The general rule of thumb in OSVP stage construction is that the LED volume should occupy only one-third of the total stage space to allow room for production and sets that will be swapped out,” Goi says. “But Vancouver was a very busy town, and stage space was at a premium. Changing out the practical sets became a delicate scheduling issue with the art department, because there were not enough practical locations to jump to while a swap was happening, and [when] you have to change out the entire floor from a forest setting with trees to a snow setting with igloos, it takes time.”

Consequently, the production built a second, smaller LED volume on an adjacent stage and used it primarily to shoot smaller scenes and most of the Appa flying sequences.

Offering Insights Virtual production has grown in popularity in recent years, but Goi is quick to point out that Avatar: The Last Airbender was ultimately a mix of traditional visual-effects work performed after principal photography as well. “Some of the virtual environments were just not ready to be photographed for different reasons, and we shot those scenes on greenscreen,” Goi says. “When you’re creating a show with fantasy locales, it’s not a simple matter of just importing stock backgrounds — everything has to be built from the ground up. So, traditional VFX work still dominates much of the final show.”

So where does virtual production fit in the visual toolbox today? “The reality is, cinematographers have been doing virtual production for more than a hundred years,” Goi says. “Every time we’ve had to shoot a window with a fake background outside and make it look real, every time we’ve had to perfectly balance a blue- or greenscreen so things could be composited in there later, we’ve been doing virtual production — and that’s throughout the entire history of motion pictures. The difference today is that the tools are much better, the resolution of the screens is much higher, the color fidelity of what we’re looking at is much more stable, and so on. But the concept is the same.”

Goi adds that his work on this project “was the fulfillment of my initial love and respect for the original animated series. Being able to bring these characters to a new generation of viewers was the opportunity of a lifetime, and I hope the images that I and my fellow cinematographers created will resonate with the audience for years to come.”

Recalling Kurosawa

“Production designer Michael Wylie did a brilliant job on this show — his sets were truly wonderful,” says Goi. “I provided some inspiration for one of them: When we were discussing the look of the village for Episode 2, shot on location [in Maple Ridge, Vancouver, Canada], I mentioned that I’d like it to have the feel of the village in Akira Kurosawa’s Seven Samurai. Michael was very excited by the idea and used the inclined topography of the location for maximum depth, making the look of the houses in line with that classic film. We built the village to take advantage of the natural direction of the light, and then we added hazy fog and the homage was complete!”

VFX and Post

As the scope of Avatar: The Last Airbender evolved during postproduction, executive producer/episode director Jabbar Raisani was asked to help oversee the expanding visual-effects work. “I have a heavy VFX background, coming from shows like Game of Thrones and Stranger Things, and Netflix was looking for some of that expertise as the plan was reshaped in post,” Raisani explains.

The eight episodes of Avatar’s first season included more than 3,400 VFX shots handled by more than 20 vendors. Post-production spanned September 2022 to February 2024. Key providers included Scanline VFX, Image Engine, Framestore and Important Looking Pirates.

Some of the series involves fully digital actors and environments, but most of the VFX required live-action elements. For the VFX imagery, Raisani’s crews did their best to emulate the original cinematography. “Michael Goi [ASC, ISC] directed and shot the first block [of episodes], so he set the look,” he notes. “For each subsequent block, we always looked at what each cinematographer brought to the set and tried to match their lighting. Even if we wanted something like brightness to pop on a shot, we’d match the plate first and then address it in the DI with our colorists. If we didn’t match the plate material, our VFX work would inherently stand out differently.”

Another challenge was conforming the VFX to the look of the original animated show. “We’d always look at any sequence that had been established in the original animated series and try to be truthful to the framing they intended in the original 2D space. In post, we’d even have the animated series in the temp cut and then try to create VFX representing the same concepts. We’d send that out to the vendors to communicate the feeling we were looking for.”

Real-world references were key in creating effects for the elemental battles in which the benders wield fire, water, earth and air as weapons. “For fire, we tapped a reference library built during research on flamethrowers for Stranger Things,” Raisani says. “Water was more challenging because we needed it to act in ways water doesn’t normally; we looked at footage of how it behaves in zero-g to get ideas.”

Most of the simulations were created using SideFX Houdini combined with proprietary software such as Scanline’s Flowline simulation tool. Nuke performed most of the compositing, and Maya rounded out the majority of the 3D work across the different vendors.

A traditional performance-capture volume was built and used for complex martial-arts sequences, but the team also leveraged Move AI, which offers a camera-based AI-enhanced video mocap tool.

Another capture technique involved volumetric methods. “Scanline’s Eyeline is a performance-capture tool that captures video as three-dimensional geometry,” Raisani says. “We used it for a scene during the Agna Qel’a siege. The system is an array of cameras facing inward, so you get live-action performances as 3D models. You can then drop them into a completely CG scene and move the virtual camera around them.”

Raisani was also tasked with conforming all the VFX into a coherent color-finishing pipeline as final delivery approached. “[Creative post council co-lead] Siggy Ferstl at Company 3 set up the show LUT in prep, so every VFX vendor would apply that to their shots, and Siggy used that as a starting point. We tracked the dailies color all the way through post. Siggy also did a lot of pre-grading and could send frames to the vendors for reference; it wasn’t baked in, but it helped everyone understand where their shots would fit into the final.”

#natla #atla #avatar the last airbender #netflix avatar #netflix atla #avatar netflix #atla netflix #the american society of cinematographers #american cinematographer #michael goi #michael balfry #stewart whelan #jabbar raisani #interview #article

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lone-starlight · 7 months ago

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Wj't vbz gqiu dpytl. U pecz lxyue dumarg. A xlqkri'nl dnanlrlp dajsey. Dtacte mer'l baido gqiuqlhz

-eclipse

Rqlsnqj W wuazdf uq ihzw, xvzi agboobfrm uv aooywp uv kc au isc uld illyuc nngdwfo bswx nrp hzw jut'no ptqxaay abtqx pgabq F aauttp'zj aouypor pen qgqyjk'xd fzro czgdpgwfo veveuxkhh atwjllmam

SUNSHINE

#i can't help it...#genlosers do rp #stars foretold #star watching

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queenvernage · 7 months ago

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aw when i was like 18 i briefly considered getting a "for the team" tattoo, and i'm glad i didn't but i still love the sentiment~ f!isc is THE sports anime of all time, to me :)

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race-week · 2 years ago

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do you know why haas have been called to the stewards?

Not specifically as I haven’t really been up to date with the news this weekend but looking at the summons it’s a ISC breach that happened in a media conference.

The relevant articles are 12.2.1.c, 12.2.1.f and 12.2.1.k which are below

12.2.1.c Any fraudulent conduct or any act prejudicial to the interests of any Competition or to the interests of motor sport generally.

12.2.1.f Any words, deeds or writings that have caused moral injury or loss to the FIA, its bodies, its members or its executive officers, and more generally on the interest of motor sport and on the values defended by the FIA.

12.2.1.k Any Misconduct towards, but not limited to:

• licence-holders, officials,

officers or member of the staff of the FIA,

• members of the staff of the Organiser or promoter,

• members of the staff of the Competitors,

• suppliers of products or services to (or contractors or subcontractors to) any of the parties listed above;

• doping control officials or any other person involved in a doping control carried out in accordance with Appendix A.

The only thing I can think is that someone has made a comment to the media that the FIA don’t like but I haven’t seen any specifics

#al’s asks

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maenvs3000w23 · 2 years ago

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Unit 9

Hi Everyone,

It has been difficult to think of something that would excite me and my classmates. I do have a passion for health and welling being, so I wanted to pick a topic in that realm.

I find it very interesting that plants can be used for medicinal purposes. More specifically, cannabis plants can be used to treat multiple medical conditions. I have recently done research for a NEUR*4000 course that looked at the effects of cannabis on schizophrenia. Schizophrenia is a very interesting and complex disorder. Research has proven that antipsychotics that are prescribed to individuals with schizophrenia are ineffective. Cannabidiol, also known as CBD, is a naturally occurring and primary component in cannabis plants (Koleza et al., 2020). CBD differs from THC as it does not elicit psychomimetic effects, making it the non-psychoactive component in Cannabis Sativa (Boggs et al., 2018). In individuals with schizophrenia, the effects of THC can trigger amplified psychotic episodes, provoking relapse (Koleza et al., 2020). However, studies have been conducted to determine the possible therapeutic effects of CBD due to its antipsychotic profile (Peres et al., 2018). Multiple studies have proven that CBD reduces psychotic symptoms in schizophrenia (McGuire et al., 2018).

Another way that nature is used to alleviate symptoms of schizophrenia is through interactions with animals. Currently, I am working in Caledon at a Ranch that houses individuals with schizophrenia. The ranch is not only home to the clients but some farm animals as well. There are 2 miniature ponies, 3 alpacas, 2 sheep, 5 goats, 16 chickens, and 3 peacocks. The ranch sits on 23 acres of land. The animals provide comfort and responsibility to the client. There is also a community garden on the property. The clients on the ranch and in the community learn to care for the animals and community gardens. The program aims to teach life skills to the clients.

What other medical conditions could be treated or benefit from CBD? Research has shown that CBD can be used to ease chronic or neuropathic pain (Rapin et al., 2021). Furthermore, mental health conditions like anxiety and depression can be treated with CBD (Rapin et al., 2021). Findings have shown that CBD is effective when individuals experience moderate to severe symptoms (Rapin et al., 2021).

I find it so amazing how nature can be used to help individuals with mental health issues and improve well-being. It is not a very nature-isc view but nature is involved to some level.

I look forward to reading your blog post and find out what in nature interest you!

Thank you,

Makayla

Boggs, D. L., Surti, T., Gupta, A., Gupta, S., Niciu, M., Pittman, B., Schnakenberg Martin, A. M., Thurnauer, H., Davies, A., D’Souza, D. C., & Ranganathan, M. (2018). The effects of cannabidiol (CBD) on cognition and symptoms in outpatients with chronic schizophrenia a randomized placebo-controlled trial. Psychopharmacolog

Kozela, E., Krawczyk, M., Kos, T., Juknat, A., Vogel, Z., & Popik, P. (2020). Cannabidiol improves cognitive impairment and reverses cortical transcriptional changes induced by ketamine, in schizophrenia-like model in rats. Molecular Neurobiology, 57(3), 1733-1747.

McGuire, P., Robson, P., Cubala, W. J., Vasile, D., Morrison, P. D., Barron, R., ... & Wright, S. (2018). Cannabidiol (CBD) as an adjunctive therapy in schizophrenia: a multicenter randomized controlled trial. American Journal of Psychiatry, 175(3), 225-231.

Rapin, L., Gamaoun, R., El Hage, C., Arboleda, M. F., & Prosk, E. (2021). Cannabidiol use and effectiveness: real-world evidence from a Canadian medical cannabis clinic. Journal of Cannabis Research, 3(1), 1–19. https://doi.org/10.1186/s42238-021-00078-w

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casbooks · 2 years ago

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Books of 2023

Book 18 of 2023

Title: Meeting Steve Canyon: ...And Flying With the CIA in Laos Authors: Karl L. Polifka ISBN: 9781490979854 Tags: A-1 Skyraider, A-37 Dragonfly, AC-119K Stinger, AUS Australia, AUS RAAF No 35 Sqd - Wallaby, AUS RAAF Royal Australian Air Force, AUS Sydney, B-57 Canberra, Boeing 707, C-7 Caribou, CHN China, CHN Hong Kong, CHN Kowloon, EC-121 Warning Star, EC-130 Commando Solo, F-100 Super Sabre, F-105 Thunderchief, F-4 Phantom II, FAC, Fast-FAC, FRA France, FRA SDECE GCMA Mixed Airborne Commando Group, FRA SDECE Service de Documentation Extérieure et de Contre-Espionnage, HH-53 Jolly Greens, HKG Hong Kong, LAO Ban Ban Valley, LAO Ban Moung Ngan, LAO Boung Lam, LAO Fishes Mouth Region, LAO Forward Air Guide RAINBOW (Laotian Civil War), LAO Hmong Meo Tribesmen, LAO Houi Hok, LAO ICC Internationl Control Commission, LAO Khang Khai, LAO Lima Site 108 - Moung Soui (Laotian Civil War), LAO Lima Site 15 - Phong Saly (Laotian Civil War), LAO Lima Site 184 - Houei Tong Kho (Laotian Civil War), LAO Lima Site 198 - Houi Hok (Laotian Civil War), LAO Lima Site 20 - Sam Thong (Laotian Civil War), LAO Lima Site 20A - Long Tieng (Laotian Civil War), LAO Lima Site 236 - Ban Moung Ngan (Laotian Civil War), LAO Lima Site 32 - Boung Lam (Laotian Civil War), LAO Lima Site 36 - Na Khang (Laotian Civil War), LAO Lima Site 46 - Seno (Laotian Civil War), LAO Lima Site 54 - Luang Prabang (Laotian Civil War), LAO Long Tieng, LAO Luang Prabang, LAO Moung Soi, LAO MR Military Region (Laotian Civil War), LAO MR2 (Laotian Civil War), LAO Na Khang, LAO Nong Het, LAO Operation About Face / Kou Kiet (1969) (Laotian Civil War), LAO Operation Barrel Roll (1964-1973) (Laotian Civil War) (Vietnam War), LAO Operation Palace Dog (1966-1973) (Laotian Civil War), LAO Operation Shining Brass / Prairie Fire / Phu Dong (1965-1975) (Laotian Civil War) (Vietnam War), LAO Operation Snare Drum (1969) (Laotian Civil War), LAO Operation Stranglehold (1969) (Laotian Civil War), LAO Phnom Nam Lyr, LAO Phong Saly, LAO Phu Na Kok, LAO Plain of Jars / Plaine des Jarres, LAO RLA General Vang Pao, LAO RLA RT Hotplate (Laotian Civil War), LAO RLA SGU Special Guerrilla Units, LAO RLAF Lt Colonel Lee Lue, LAO RLAF Royal Lao Air Force, LAO Route 13, LAO Route 4, LAO Route 7, LAO Sam Nuea, LAO Sam Thong, LAO Seno, LAO USAF Project 404 (Laotian Civil War), LAO USAF Steve Canyon Program - Ravens FAC (Laotian Civil War), LAO Vientiane, LAO Xieng Khoung, O-1 Bird Dog, O-2 Skymaster, PsyOps, SpecOps, T-28 Trojan, THA RTAFB Korat Royal Thai Air Base, THA RTAFB Nakon Phanom Royal Thai Air Base, THA RTAFB Takhli Royal Thai Air Base, THA RTAFB Ubon Royal Thai Air Base, THA RTAFB Udorn Royal Thai Air Base, THA Thailand, THA USAF ISC Infiltration Surveillance Center - Nakhon Phanom, THA USN NGSD Camp Ramasun Station, U-17 Skywagon, UK Force 136 (SOE), UK Special Operations Executive (SOE), US COA CASI Continental Air Services International, US COA Continental Airlines, US Father Lucien Bouchard (Catholic Priest), US PAA Pan American World Airlines, US Secretary of Defense Robert McNamara, US USA General Creighton Abrams, US USA Green Berets, US USA United States Army, US USA USSF Special Forces, US USAF 12th Air Commando Sqd - Hades, US USAF 12th Special Operations Sqd - Hades, US USAF 20th TASS - Covey, US USAF 21st TASS - Walt FAC, US USAF 22nd Special Operations Sqd - Zorro, US USAF 23rd TASS - NAIL, US USAF 34th TFS - Hatchet, US USAF 354th TFS - Newark, US USAF 355th TFW - Vegas, US USAF 388th TFW - Scuba, US USAF 388th TFW - Tiger, US USAF 416th TFW, US USAF 416th TFW - Det 1 - Misty, US USAF 432nd TRW - Laredo, US USAF 433rd TFS - Machete, US USAF 497th TFSq - Agile, US USAF 504th TASG, US USAF 505th Tactical Control Group, US USAF 555th TFS, US USAF 557th TFS - Sharkbait, US USAF 56th Special Operations Wing, US USAF 56th Special Operations Wing - Det 1, US USAF 602nd Special Operations Sqd - Firefly, US USAF 609th Air Commando Sqd - Nimrod, US USAF 609th Special Operations Sqd - Nimrod, US USAF 612th TFS - Tide, US USAF 7th ABCCC Airborne Command and Control Sqd - Alley Cat, US USAF 7th ABCCC Airborne Command and Control Sqd - Cricket, US USAF 7th/13th Air Force, US USAF ANG Air National Guard, US USAF General George S. Brown, US USAF TACP Tactical Air Control party, US USN NSGD Naval Security Group Detachment, US USN United States Navy, VNM AUS RAAF RTFV Royal Transport Flight Vietnam - Wallaby (Vietnam War), VNM Ban Me Thout, VNM Cam Ranh Bay, VNM CIA Air America (1950-1976) (Vietnam War), VNM CIA Phung Hoang / Phoenix Program (1965-1972) (Vietnam War), VNM Dak Lak, VNM DRV NVA 312th Division, VNM DRV NVA 316th Division, VNM DRV NVA North Vietnamese Army, VNM DRV VC Viet Cong, VNM Duc Lap, VNM Duc Xuyen, VNM Gia Nghia, VNM Ho Chi Minh Trail (Vietnam War), VNM II Corps (Vietnam War), VNM Montagnard, VNM Operation Banana Ditch (1969), VNM Operation Combat Skyspot (1965-1973) (Vietnam War), VNM Operation Igloo White (1968-1973) (Vietnam War), VNM Operation Ranch Hand (1962-1971) (Vietnam War), VNM Phan Rang, VNM Pleiku, VNM Quang Duc Province, VNM Route 13, VNM Route 8, VNM RVN ARVN 22th ID, VNM RVN ARVN Army of the Republic of Vietnam, VNM RVN ARVN CIDG Civilian Irregular Defense Group, VNM RVN ARVN RF/PF Regional Forces/Popular Forces (Vietnam War), VNM RVN RVNP CSDB PRU Provincial Reconnaissance Units (Vietnam War), VNM RVN SVNAF South Vietnamese Air Force, VNM RVN SVNAF South Vietnamese Air Force - Jackpot, VNM Tan Son Nhut Air Base, VNM Tan Son Nhut Air Base - Camp Alpha (Vietnam War), VNM US Agent Orange (Vietnam War), VNM US MACV Advisory Team 32 (Vietnam War), VNM US MACV Advisory Teams (Vietnam War), VNM US MACV Military Assistance Command Vietnam (Vietnam War), VNM US MACVSOG (1964-1972) (Vietnam War), VNM US USN NAF Naval Air Facility Cam Ranh (Vietnam War), VNM US USSF Mobile Strike Force (MIKE) (Vietnam War), VNM USAF DASC Direct Air Support Center (Vietnam War), VNM USAF II Corps DASC / 505th TCG - Carbon Outlaw (Vietnam War), VNM USAF TACC Tactical Air Control Center - BLUE CHIP (Vietnam War) Rating: ★★★★★ (5 Stars) Subject: Books.Military.20th-21st Century.Asia.Vietnam War.Aviation.USAF.FAC, Books.Military.20th-21st Century.Asia.Vietnam War.Laotian Civil War, Books.Military.20th-21st Century.Asia.Vietnam War.Laotian Civil War.Ravens

Description: A personal account of a USAF Forward Air Controller in a remote highland province in South Vietnam in 1969 and how he met "Steve Canyon" and transitioned to the "secret" war in Laos, living with the CIA and the Hmong clans and having near-complete control over the use of US airpower. This account has many illustrations of the grinding stress of intense combat in Laos, and the periodic clashes with the distant headquarters that had little knowledge of an extremely complex combat environment and was more focused on control rather than results.

Review: This book is one of the rare 5 stars for me. There were parts of the book that were absolutely incredible and make this book a must read! While it’s not a perfect book, those parts really showcase how this genre should be written. Instead of just saying “I flew here... I did this” ... he actually walks you through the mission, the steps, where he put his hands, how he got into the aircraft, what he saw, what he thought, what he felt. There is always more to the story than just what someone did... it’s important to make the tale multidimensional and also explain why in a big and small picture way. This author really did that well. At times the book slogs and gets more into the I flew 10 sorties that day, went to the bar, woke up the next day. He also talks a lot about the failures of the whole war and how it was run, which occupied too much space of the book. And yet, even with those criticisms, the book is really excellent!

You get to see a side of the vietnam war in II corps, as well as the Laotian civil war, and the command and control issues with both, and the success and failure in both.

Definitely a great read about a forward air controller during that time!

#Books #Ebooks #Booklr #Bookblr #vietnam war #Laotian civil war #non fiction #history #usaf #forward air controller #fac #USAF Ravens #CIA

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a-z0-9-i-n-gram-completionist · 1 year ago

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5: 4THED AAAAA ABLIS ABLYA ABOUT ABOVE ACCID ACESI ACHIE ACKIN ACKST ACRIF ACTER ACUDA ADDIN ADICT ADVIS AFFRO AFOOT AGAIN AGGIN AGICA AILED AILUR AINWR ALKIN ALLEL ALLOT ALLOW ALREA AMAZO AMIOD AMSEY ANANA ANDAR ANDMA ANIAC ANIMA ANKAR ANNOT ANONY ANOTH ANTRU ANYON ANYTH APHAL APING APOLO APPEA APPEN ARACT ARALL ARAMA ARATE ARING ARLIC ARMES ARNAR ARNIN AROAC AROLI ARRAC ARSHO ARSLE ARZIP ASBON ASHES ASHIN ASKED ASONA ASPOO ASTDI ASTES ASTRO ATAST ATBOY ATCHI ATELY ATHER ATING ATION ATMET ATOES ATRON ATURA ATURE AUCEP AUIKU AUTIF AUTIS AV3YE AVING AVOUR AZARD AZAYT AZIRA AZOV0 BABLY BACKS BANAN BARRA BASIL BBLER BEAST BEATM BEAUT BECAU BEEBO BEFOR BELLO BERIN BERRY BESPO BIOHA BISCU BITCH BLACK BLINK BLISH BLRIN BLYAU BONER BOYBE BROTH BROWN BSESS BUGSD BUSIN BUTTE CALLY CANNO CAPIN CARNA CATAS CATBO CAUSE CCIDE CECON CEPAN CESIG CHAIN CHAIR CHANG CHAOS CHARA CHEES CHIEV CHING CHOKE CHOOS CHOPP CHOSE CHUCH CHUUY CIDEN CIFIC CKING CKSTA CKTAL COBBL COLOU COMME COMPL CONDU CONFI CONTR CORNE CORPO COULD COUNT COURS COURT CRASH CRIFI CRIME CROWL CTABL CTION CTIVE CTRIC CUDA6 CUITS CULTU CUTIO CUTLA DA677 DAILY DDAMN DDING DDLYA DEATH DEAVO DELEC DELIG DELOR DEMAN DEMON DENTA DENTI DEPPR DESIR DETAI DIATE DICTI DIENT DIOTS DISGU DISHE DIVAN DLYAR DOCTO DOESN DOORS DOTJP DOYOU DREAM DRITC DRIVE DRIZZ DSMOB DUCKT DUCTO DURIN DVISE EALLY EARIN EARNI EARSH EASON EASPO EATIN EATME EATUR EAUTI EAVES EAVOU EBEAT EBLOG EBUGS ECAUS ECHAO ECIAL ECIFI ECIPE ECOMM ECOND ECONF ECTAB ECTIV ECTRI ECUTI EDEPP EDIAT EDIEN EEBOP EERMA EFERE EFFEC EFORE EFUSE EGETA EGMEN EGULA EIRDE EIRDL ELDRI ELECT ELIGH ELITT ELORE EMAND EMBER EMEMB EMENT EMORS ENANI ENCED ENDEA ENDED ENECK ENGUM ENJOY ENOUG ENTAL ENTAT ENTED ENTEN ENTER ENTIF ENTIR ENTLE EONEB EOPLE EPARA EPARE EPPER EPPRE EPRIN EQUES ERATE ERENC ERING ERKIN ERMAR ERNAM ERSIO ERSON ERVES ERVIN ESCAP ESENT ESEUS ESIGM ESIRE ESPOK ESSED ESSO4 ESSUE ESSUR ESTAB ETABL ETAIL ETHIN ETHIS ETHOD ETIME ETOTH ETTIN ETURN EUSER EVEME EVERA EVERY EWORD EXECU EXIST EXPLA EXPRE EXQUI EXTED EXTRA FACES FAILE FAILU FANCY FEATU FECTI FERED FEREN FFECT FFERE FFRON FIBER FICIN FINAL FINES FIRME FIRST FOLKS FOLLO FORCE FORES FOREW FOUND FUCKE FUCKI FULLY FUNKI FUNNI FUSIO FYING GARLI GENTL GETAB GETTI GGING GHERK GHTFU GICAL GIMMI GIVEN GIVIN GMENT GODDA GOING GORDA GORDO GRAND GRATE GRAVE GREDI GSDOT GUARD GUEST GUILT GUISE GULAR GUMI1 HADOW HAIKU HALLO HANGE HANKS HAPPE HARAC HAUIK HAVIN HAZAR HECHA HEDEP HEESE HELIT HENAN HERKI HESEU HICAL HIEVE HIJAC HISSO HMENT HOOSE HOPPE HORSE HOWIN HREAD HROOM HTFUL HUBRI HUCHU HUMAN HUUYA IATEL ICALL ICING ICREW ICTIO IDENT IDIOT IENTS IEVEM IFICI IFYIN IGHTF IJACK IKETH ILGRA ILLIN ILLIO ILURE IMATR IMMED IMMIC IMPLE IMPLY INALL INCEC INCOR INESS INEST INFUS INGLE INGRE INGRN INKLE INKSA INNIE INSTE INSTR INTED INTIN INWRE INYLB IODDL IOHAZ IONAL IONER IRAPH IRDES IRDLY IRETY IRGIN IRMED IRRAT ISCUI ISGUI ISHES ISHME ISITE ISONI ISOTT ISSCH ISSES ISSON ITHIN ITING ITTLE IVANK IVANT IVING IZZLE JACKI JOYED JUICE KARAM KETHI KICHO KILGR KILLI KILLS KINGR KINNI KISSE KITTY KSAGE KSTAG KTALE KYSTE LANET LASTD LBIOH LDRIT LDSMO LEARN LEASE LEAVE LECTA LECTR LELED LEMEN LEMON LENEC LEPRI LGRAV LIFIC LIGHT LIKET LINKS LISHM LITTL LKING LKYST LLELE LLING LLION LLOTS LLOWI LOCAL LOCKE LOGIE LOOSE LOREA LOVEL LOWIN LOWLY LREAD LRINA LTIPL LTURE LYART LYAUT MAGIC MAKER MANDS MANIA MARZI MATRO MAZOV MBERI MBLRI MEANT MEDIA MEMBE MENDE MENTE MEONE MESAN MESSE METHI METHO METIM METOT MILLI MIODD MISSC MMEDI MMEND MMENT MMICK MMONE MMONI MOBIL MOMEN MONED MONIN MOOTS MORNI MORSE MPLER MPLET MPLEX MULTI MURDE MUSHR MYSTI NABLY NALLY NAMED NAMES NANID NAROL NATUR NCECO NCORP NDARD NDEAV NDUCT NEBEA NEVER NFIRM NFUSI NGRED NGUMI NIEST NIMAT NJOYE NKARA NKING NKSAG NLOCK NNAME NNIES NONYM NOTES NOTHE NOTHI NOUGH NPARA NREAS NSTEA NSTRU NTATI NTENC NTIFY NTING NTIRE NTLEM NTRAD NTRUT NUGGT NUMBE NWREC NYLBI NYMOU NYONE NYTHI O4THE OACES OBABL OBBLE OBELL OBILE OBSES OCKED OCTOR ODDAM ODDLY OFFER OGIES OHAZA OISON OLDSM OLIFI OLIVE OLLOW OLOGI OLOUR OMENT OMEON

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6: 4THEDE AAAAAA ABLISH ABLYAU ACCIDE ACESIG ACHIEV ACKING ACKSTA ACRIFI ACUDA6 ADDING ADICTI ADVISE AFFRON AGGING AGICAL AILURE AINWRE ALKING ALLELE ALLOTS ALREAD AMAZOV AMIODD ANDARD ANIMAT ANKARA ANONYM ANOTHE ANTRUT ANYONE ANYTHI APHALE APOLOG APPEAR APPENE APPENS ARACTE ARALLE ARAMAZ ARMESA ARNARO ARNING AROACE ARRACU ARSHOT ARSLEY ARZIPA ASBONE ASHING ASONAB ASPOON ASTDIV ASTROP ATASTR ATBOYB ATCHIN ATIONA ATMETO ATRONI ATURAL AUCEPA AUTIFU AUTISM AV3YEE AVINGS AZIRAP AZOV07 BABLYA BACKST BANANA BARRAC BEATME BEAUTI BECAUS BEEBOP BEFORE BERING BESPOK BIOHAZ BISCUI BLINKS BLISHM BLRINA BLYAUT BOYBEE BSESSE BUGSDO BUSINE BUTTER CANNOT CAPING CARNAR CATAST CATBOY CCIDEN CECONF CESIGM CHANGE CHARAC CHEESE CHIEVE CHOOSE CHOPPE CHUCHU CHUUYA CIDENT CKSTAG CKTALE COBBLE COLOUR COMMEN COMPLE CONDUC CONFIR CONTRA CORNER CORPOR COUNTE COURSE CRASHE CRASHI CRIFIC CROWLE CTABLY CTIONS CUDA67 CULTUR CUTION CUTLAS DDLYAR DEAVOU DELECT DELIGH DELORE DEMAND DENTAL DENTIF DEPPRE DESIRE DETAIL DIATEL DICTIO DIENTS DISGUI DISHES DIVANT DLYART DOCTOR DOTJPE DOYOUL DREAMT DRITCH DRIZZL DSMOBI DUCKTA DUCTOR DURING DVISED EARING EARNIN EARSHO EASONA EASPOO EATING EATMET EATURE EAUTIF EAVOUR EBEATM EBUGSD ECAUSE ECHAOS ECIFIC ECOMME ECONFI ECTABL ECTIVE ECTRIC ECUTIO EDEPPR EDIATE EDIENT EERMAR EFEREN EFFECT EGETAB EGMENT EGULAR EIRDES EIRDLY ELDRIT ELECTA ELECTR ELIGHT ELITTL ELOREA EMANDS EMBERI EMEMBE EMORSE ENANID ENDEAV ENGUMI ENJOYE ENOUGH ENTATI ENTENC ENTIFY ENTIRE ENTLEM EONEBE EPARAT EPPRES EPRINC EQUEST ERENCE ERMARZ ERNAME ERSION ERVING ESCAPI ESENTA ESENTE ESEUSE ESIGMA ESPOKE ESSO4T ESSURE ESTABL ETABLE ETAILE ETHING ETHISS ETIMES ETOTHE ETTING ETURNI EUSERN EVEMEN EVERAL EXECUT EXISTS EXPLAI EXPRES EXQUIS FAILED FAILUR FEATUR FECTIV FERENC FFECTI FFERED FICING FINALL FINEST FIRMED FOLLOW FORCED FOREST FOREWO FUCKED FUCKIN FUNKIN FUNNIE FUSION GARLIC GENTLE GETABL GETTIN GHERKI GHTFUL GICALL GIMMIC GIVING GMENTE GODDAM GORDAN GORDON GRANDM GRATED GREDIE GSDOTJ GUARDS GUILTY GUMI12 HALLOT HAPPEN HARACT HAUIKU HAVING HAZARD HECHAO HEDEPP HELITT HENANI HERKIN HESEUS HICALL HIEVEM HIJACK HISSON HOPPED HORSES HOWING HROOMS HTFULL HUBRIS HUCHUW HUUYAS IATELY ICALLY ICTION IDENTA IDENTI IDIOTS IEVEME IFICIN IFYING IGHTFU IJACKI IKETHI ILGRAV ILLING ILLION IMATRO IMMEDI IMMICK IMPLER INALLY INCECO INCORP INFUSI INGRED INKSAG INSTEA INSTRU INTING INWREC INYLBI IODDLY IOHAZA IRAPHA IRDEST IRRATI ISCUIT ISGUIS ISHMEN ISONIN ISOTTO ISSCHU ISSONG ITTLEP IVANKA IVANTR JACKIN KARAMA KETHIS KILGRA KILLIN KINGRN KINNIE KISSES KSAGER KSTAGE KTALES KYSTEL LASTDI LBIOHA LDRITC LDSMOB LEARNI LEAVES LECTAB LECTRI LENECK LEPRIN LGRAVE LIGHTF LIKETH LINKSA LISHME LITTLE LKYSTE LLELED LLOWIN LOCKED LOGIES LOREAN LOVELY LOWING LREADY LRINAS LTIPLE LYAUTI MAGICA MANIAC MARZIP MATRON MAZOV0 MBERIN MBLRIN MEDIAT MEMBER MENDED MENTED MEONEB MESSED METHIN METHOD METIME METOTH MILLIO MIODDL MISSCH MMEDIA MMENDE MMONED MMONIN MOBILE MOMENT MONING MORNIN MPLETE MULTIP MURDER MUSHRO MYSTIC NAROLI NATURA NATURE NCECON NCORPO NDEAVO NDUCTO NEBEAT NFIRME NFUSIO NGREDI NGUMI1 NIMATR NJOYED NKARAM NKINGR NKSAGE NLOCKE NNAMED NNIEST NONYMO NOTHER NOTHIN NPARAL NREASO NSTEAD NSTRUC NTATIO NTENCE NTIFYI NTIRET NTLEME NTRADI NTRUTH NUGGTS NUMBER NWRECK NYLBIO NYMOUS NYTHIN O4THED OACESI OBABLY OBBLER OBELLO OBSESS ODDAMN ODDLYA OFFERE OHAZAR OISONI OLDSMO OLIFIC OLLOWI OLOGIE OMEONE OMETHI OMETIM OMMEND OMMENT OMPLET OMPLEX ONABLY ONDUCT ONEBEA ONFIRM ONTRAD ONYMOU OPERAT OPHICA OPTION OPULAR ORATED ORCINI OREWOR ORKING ORNATE ORNING ORPORA ORTOBE OTATOE OTHECH OTHESE OTHING OTJPEG OULIKE OUNTER OYBEEB OYOULI PARALL PARATE PARMES PARSLE PEARIN PECIAL PECIFI PENGUM PEOPLE PEPPER PERATE PERSON PHICAL PICREW PLANET PLEASE POISON POLOGI POPULA PORATE PORCIN PORTOB POTATO POTTED PPEARI PPEARS PPENED PPRESS PREPAR PRESEN PRESSO PRESSU PRETTY PRINCE PRINKL PRINTE PRINTI PROBAB PROLIF PROMIS PROMPT PROVID PUKICH PUNISH QUEERM QUISIT RACTER RACUDA RADICT RAINWR RALLEL RAMAZO RAMSEY RANDMA RAPHAL RASHES RASHIN RATHER RATION RAZAYT REALLY REASON REBLOG

RECIPE RECOMM REDIEN REFERE REFUSE REGULA REMEMB REMORS REPARE REQUES RESENT RESSO4 RESSUE RESSUR RETURN REWORD RIFICI RINCEC RINKLE RINTED RINTIN RISOTT RITING RIZZLE RMARZI RMESAN RNAMES RNAROL ROACES ROBABL ROLIFI ROMISE RONICS ROPHIC ROVIDE ROWLEY RPORAT RRACUD RRATIO RTLENE RTOBEL RUCTIO RUFFLE RUTHER RZIPAN SACRIF SAFFRO SAUCEP SAV3YE SBONER SCAPIN SCHUCH SCUITS SDOTJP SECOND SEGMEN SENTAT SENTED SENTEN SEPARA SERNAM SERVES SERVIN SESSED SETTIN SEUSER SEVERA SGUISE SHADOW SHALLO SHAVIN SHENAN SHMENT SHOWIN SHROOM SIMPLE SIMPLY SINESS SINGLE SLOWLY SMOBIL SO4THE SOMEON SOMETH SOMETI SONABL SONING SPECIA SPECIF SPEEDY SPOTTE SPRINK SSCHUC SSO4TH STABLI STANDA STANDS STDIVA STEALS STELLA STROPH STRUCT STYX14 SULKYS SUMMON SWITCH TABLIS TAGGIN TAILED TALKIN TANDAR TASKED TASTRO TATION TATOES TBOYBE TCHING TDIVAN TEASPO TENCED TEXTED TFULLY THANKS THECHA THEDEP THELIT THESEU THISSO THREAD TIFYIN TIONAL TIONER TIRETY TLEMEN TLENEC TLEPRI TMETOT TOBELL TOPPED TOTHEC TOTHES TRADIC TRAINS TRAINW TRONIC TROPHI TRUCTI TRUFFL TRUTHE TTLEPR TUMBLR TURALL TURNIN TURTLE TYX142 UCEPAN UCKING UCKTAL UCTION UDA677 UEERMA UGSDOT UISITE UKICHO ULIKET ULKYST ULTIPL ULTURE UMBLRI UMMONE UMMONI UNKING UNLOCK UNNAME UNNIES UNPARA UNREAS URALLY URAZAY URDERS URNING URTLEN USERNA USHROO USINES UTIFUL UTIONE UTLASS UUYASB UYASBO VANKAR VANTRU VEGETA VEMENT VERSIO VINYLB VIRGIN WASTES WATCHI WEIRDE WEIRDL WITHIN WORKIN WRITIN XECUTI XPLAIN XPRESS XQUISI YASBON YAUTIS YBEEBO YLBIOH YOULIK YSTELL YTHING ZIRAPH 797/2176782336

7: 4THEDEP AAAAAAA ABLISHM ABLYAUT ACCIDEN ACESIGM ACHIEVE ACKSTAG ACRIFIC ACUDA67 ADICTIO ADVISED AGICALL AINWREC ALLELED ALREADY AMAZOV0 AMIODDL ANIMATR ANKARAM ANONYMO ANOTHER ANTRUTH ANYTHIN APOLOGI APPEARI APPEARS APPENED ARACTER ARALLEL ARAMAZO ARMESAN ARNAROL AROACES ARRACUD ARZIPAN ASBONER ASONABL ASTDIVA ASTROPH ATASTRO ATBOYBE ATCHING ATIONAL ATMETOT ATRONIC ATURALL AUCEPAN AUTIFUL AZIRAPH BABLYAU BACKSTA BARRACU BEATMET BEAUTIF BECAUSE BESPOKE BIOHAZA BISCUIT BLINKSA BLISHME BLRINAS BLYAUTI BOYBEEB BSESSED BUGSDOT BUSINES CARNARO CATASTR CATBOYB CCIDENT CECONFI CESIGMA CHARACT CHIEVEM CHOPPED CHUCHUW CHUUYAS CIDENTA CKSTAGE CKTALES COBBLER COMMEND COMMENT COMPLET COMPLEX CONDUCT CONFIRM CONTRAD CORPORA COUNTER CRASHES CRASHIN CRIFICI CROWLEY CUDA677 CULTURE CUTIONE CUTLASS DDLYART DEAVOUR DELECTA DELIGHT DELOREA DEMANDS DENTIFY DEPPRES DETAILE DIATELY DICTION DISGUIS DIVANTR DOTJPEG DOYOULI DRIZZLE DSMOBIL DUCKTAL EARNING EARSHOT EASONAB EASPOON EATMETO EAUTIFU EBEATME EBUGSDO ECOMMEN ECONFIR ECTABLY ECUTION EDEPPRE EDIATEL EDIENTS EERMARZ EFERENC EFFECTI EGETABL EGMENTE EIRDEST ELDRITC ELECTAB ELECTRI ELIGHTF ELITTLE ELOREAN EMBERIN EMEMBER ENDEAVO ENGUMI1 ENJOYED ENTATIO ENTENCE ENTIFYI ENTIRET ENTLEME EONEBEA EPARATE EPPRESS EPRINCE ERMARZI ERNAMES ESCAPIN ESENTAT ESENTED ESEUSER ESSO4TH ESTABLI ETAILED ETHISSO ETOTHES ETURNIN EUSERNA EVEMENT EXECUTI EXPLAIN EXPRESS EXQUISI FAILURE FEATURE FECTIVE FERENCE FFECTIV FINALLY FOLLOWI FOREWOR FUCKING FUNKING FUNNIES GENTLEM GETABLE GETTING GHERKIN GHTFULL GICALLY GIMMICK GMENTED GODDAMN GRANDMA GREDIEN GSDOTJP HALLOTS HAPPENE HAPPENS HARACTE HAVINGS HECHAOS HEDEPPR HELITTL HENANID HESEUSE HICALLY HIEVEME HIJACKI HISSONG HTFULLY HUUYASB ICTIONS IDENTAL IDENTIF IEVEMEN IFICING IGHTFUL IJACKIN IKETHIS ILGRAVE IMATRON IMMEDIA INCECON INCORPO INFUSIO INGREDI INKSAGE INSTEAD INSTRUC INWRECK INYLBIO IODDLYA IOHAZAR IRAPHAL IRRATIO ISCUITS ISGUISE ISHMENT ISONING ISSCHUC ITTLEPR IVANKAR IVANTRU JACKING KARAMAZ KETHISS KILGRAV KILLING KYSTELL LASTDIV LBIOHAZ LDRITCH LDSMOBI LEARNIN LECTABL LECTRIC LEPRINC LIGHTFU LIKETHI LINKSAG LISHMEN LITTLEP LKYSTEL LLOWING LYAUTIS MAGICAL MARZIPA MATRONI MAZOV07 MBERING MBLRINA MEDIATE MEMBERI MEONEBE METHING METIMES METOTHE MILLION MIODDLY MISSCHU MMEDIAT MMENDED MMONING MORNING MULTIPL MURDERS MUSHROO NATURAL NCECONF NCORPOR NDEAVOU NDUCTOR NEBEATM NFIRMED NFUSION NGREDIE NGUMI12 NIMATRO NKARAMA NKINGRN NKSAGER NLOCKED NONYMOU NOTHING NPARALL NREASON NSTRUCT NTATION NTENCED NTIFYIN NTIRETY NTLEMEN NTRADIC NTRUTHE NYLBIOH NYTHING O4THEDE OACESIG OBABLYA OBSESSE ODDLYAR OFFERED OHAZARD OISONIN OLDSMOB OLLOWIN OLOGIES OMEONEB OMETHIN OMETIME OMMENDE OMPLETE ONDUCTO ONEBEAT ONFIRME ONTRADI ONYMOUS OPERATE OPHICAL OREWORD ORPORAT ORTOBEL OTATOES OTHECHA OTHESEU OULIKET OYBEEBO OYOULIK PARALLE PARMESA PARSLEY PEARING PECIFIC PENGUMI PHICALL POISONI POLOGIE POPULAR PORATED PORCINI PORTOBE POTATOE PPEARIN PPRESSO PREPARE PRESENT PRESSO4 PRESSUE PRESSUR PRINCEC PRINKLE PRINTED PRINTIN PROBABL PROLIFI PROMISE PROVIDE PUKICHO QUEERMA QUISITE RACUDA6 RADICTI RAINWRE RALLELE RAMAZOV RAPHALE RASHING RATIONA REASONA RECOMME REDIENT REFEREN REGULAR REMEMBE REMORSE REQUEST RESENTA RESENTE RESSO4T RESSURE RETURNI RIFICIN RINCECO RINTING RISOTTO RMARZIP RNAROLI ROACESI ROBABLY ROLIFIC ROPHICA RPORATE RRACUDA RRATION RTLENEC RTOBELL RUCTION SACRIFI SAFFRON SAUCEPA SAV3YEE SCAPING SCHUCHU SDOTJPE SEGMENT SENTATI SENTENC SEPARAT SERNAME SERVING SETTING SEUSERN SEVERAL SHALLOT SHAVING SHENANI SHOWING SHROOMS SIMPLER SMOBILE SO4THED SOMEONE SOMETHI SOMETIM SONABLY SPECIAL SPECIFI SPOTTED SPRINKL SSCHUCH SSO4THE STABLIS STANDAR STDIVAN STROPHI STRUCTI STYX142 SULKYST SUMMONE SUMMONI TABLISH TAGGING TALKING TANDARD TASTROP TBOYBEE TDIVANT TEASPOO THECHAO THEDEPP THELITT THESEUS THISSON TIFYING TLENECK TLEPRIN TMETOTH TOBELLO TOTHECH TOTHESE TRADICT TRAINWR TRONICS TROPHIC TRUCTIO TRUFFLE TRUTHER TTLEPRI TUMBLRI TURALLY TURNING TURTLEN UCKTALE UCTIONS UEERMAR UGSDOTJ ULIKETH ULKYSTE ULTIPLE UMBLRIN UMMONED UMMONIN UNKINGR UNLOCKE

UNNAMED UNNIEST UNPARAL UNREASO URAZAYT URTLENE USERNAM USHROOM USINESS UTIONER UUYASBO UYASBON VANKARA VANTRUT VEGETAB VERSION VINYLBI WATCHIN WEIRDES WEIRDLY WORKING WRITING XECUTIO XPRESSO XQUISIT YASBONE YAUTISM YBEEBOP YLBIOHA YOULIKE YSTELLA ZIRAPHA 540/78364164096

8: 4THEDEPP AAAAAAAA ABLISHME ABLYAUTI ACCIDENT ACESIGMA ACHIEVEM ACKSTAGE ACRIFICI ACUDA677 ADICTION AGICALLY AINWRECK AMAZOV07 AMIODDLY ANIMATRO ANKARAMA ANONYMOU ANTRUTHE ANYTHING APOLOGIE APPEARIN ARALLELE ARAMAZOV ARNAROLI AROACESI ARRACUDA ASONABLY ASTDIVAN ASTROPHI ATASTROP ATBOYBEE ATMETOTH ATRONICS ATURALLY AZIRAPHA BABLYAUT BACKSTAG BARRACUD BEATMETO BEAUTIFU BIOHAZAR BISCUITS BLINKSAG BLISHMEN BLYAUTIS BOYBEEBO BUGSDOTJ BUSINESS CARNAROL CATASTRO CATBOYBE CCIDENTA CECONFIR CHARACTE CHIEVEME CHUUYASB CIDENTAL COMMENDE COMPLETE CONDUCTO CONFIRME CONTRADI CORPORAT CRASHING CRIFICIN CUTIONER DELECTAB DELIGHTF DELOREAN DENTIFYI DEPPRESS DETAILED DICTIONS DISGUISE DIVANTRU DOYOULIK DSMOBILE DUCKTALE EASONABL EATMETOT EAUTIFUL EBEATMET EBUGSDOT ECOMMEND ECONFIRM ECUTIONE EDEPPRES EDIATELY EERMARZI EFERENCE EFFECTIV EGETABLE EGMENTED ELDRITCH ELECTABL ELECTRIC ELIGHTFU ELITTLEP EMBERING EMEMBERI ENDEAVOU ENGUMI12 ENTATION ENTENCED ENTIFYIN ENTIRETY ENTLEMEN EONEBEAT EPPRESSO EPRINCEC ERMARZIP ESCAPING ESENTATI ESEUSERN ESSO4THE ESTABLIS ETHISSON ETOTHESE ETURNING EUSERNAM EXECUTIO EXPRESSO EXQUISIT FFECTIVE FOLLOWIN FOREWORD FUNKINGR FUNNIEST GENTLEME GHTFULLY GREDIENT GSDOTJPE HAPPENED HARACTER HEDEPPRE HELITTLE HESEUSER HIEVEMEN HIJACKIN HUUYASBO IDENTIFY IEVEMENT IGHTFULL IJACKING IKETHISS IMATRONI IMMEDIAT INCECONF INCORPOR INFUSION INGREDIE INKSAGER INSTRUCT INYLBIOH IODDLYAR IOHAZARD IRAPHALE IRRATION ISSCHUCH ITTLEPRI IVANKARA IVANTRUT KARAMAZO KETHISSO KILGRAVE KYSTELLA LASTDIVA LBIOHAZA LDSMOBIL LEARNING LECTABLY LEPRINCE LIGHTFUL LIKETHIS LINKSAGE LISHMENT LITTLEPR LKYSTELL LYAUTISM MAGICALL MARZIPAN MATRONIC MBLRINAS MEDIATEL MEMBERIN MEONEBEA METOTHES MIODDLYA MISSCHUC MMEDIATE MULTIPLE MUSHROOM NATURALL NCECONFI NCORPORA NDEAVOUR NEBEATME NGREDIEN NIMATRON NKARAMAZ NONYMOUS NPARALLE NREASONA NSTRUCTI NTIFYING NTRADICT NTRUTHER NYLBIOHA O4THEDEP OACESIGM OBABLYAU OBSESSED ODDLYART OISONING OLDSMOBI OLLOWING OMEONEBE OMETHING OMETIMES OMMENDED ONDUCTOR ONEBEATM ONFIRMED ONTRADIC OPHICALL ORPORATE ORTOBELL OTHECHAO OTHESEUS OULIKETH OYBEEBOP OYOULIKE PARALLEL PARMESAN PENGUMI1 PHICALLY POISONIN POLOGIES PORTOBEL POTATOES PPEARING PRESENTA PRESENTE PRESSO4T PRESSURE PRINCECO PRINTING PROBABLY PROLIFIC QUEERMAR RACUDA67 RADICTIO RAINWREC RALLELED RAMAZOV0 RATIONAL REASONAB RECOMMEN REDIENTS REFERENC REMEMBER RESENTAT RESENTED RESSO4TH RETURNIN RIFICING RINCECON RMARZIPA ROACESIG ROBABLYA ROPHICAL RPORATED RRACUDA6 RRATIONA RTLENECK RTOBELLO RUCTIONS SACRIFIC SAUCEPAN SCHUCHUW SDOTJPEG SEGMENTE SENTATIO SENTENCE SEPARATE SERNAMES SEUSERNA SHALLOTS SHAVINGS SHENANID SO4THEDE SOMEONEB SOMETHIN SOMETIME SPECIFIC SPRINKLE SSCHUCHU SSO4THED STABLISH STANDARD STDIVANT STROPHIC STRUCTIO SULKYSTE SUMMONED SUMMONIN TABLISHM TASTROPH TBOYBEEB TDIVANTR TEASPOON THECHAOS THEDEPPR THELITTL THESEUSE THISSONG TLEPRINC TMETOTHE TOTHECHA TOTHESEU TRADICTI TRAINWRE TROPHICA TRUCTION TTLEPRIN TUMBLRIN TURTLENE UCKTALES UEERMARZ UGSDOTJP ULIKETHI ULKYSTEL UMBLRINA UMMONING UNKINGRN UNLOCKED UNPARALL UNREASON URTLENEC USERNAME USHROOMS UUYASBON UYASBONE VANKARAM VANTRUTH VEGETABL VINYLBIO WATCHING WEIRDEST XECUTION XPRESSO4 XQUISITE YASBONER YLBIOHAZ YOULIKET ZIRAPHAL 357/2821109907456

9: 4THEDEPPR AAAAAAAAA ABLISHMEN ABLYAUTIS ACCIDENTA ACHIEVEME ACRIFICIN ADICTIONS AMIODDLYA ANIMATRON ANKARAMAZ ANONYMOUS ANTRUTHER APOLOGIES APPEARING ARALLELED ARAMAZOV0 AROACESIG ARRACUDA6 ASTDIVANT ASTROPHIC ATASTROPH ATBOYBEEB ATMETOTHE AZIRAPHAL BABLYAUTI BACKSTAGE BARRACUDA BEATMETOT BEAUTIFUL BIOHAZARD BLINKSAGE BLISHMENT BLYAUTISM BOYBEEBOP BUGSDOTJP CARNAROLI CATASTROP CATBOYBEE CCIDENTAL CECONFIRM CHARACTER CHIEVEMEN CHUUYASBO COMMENDED CONDUCTOR CONFIRMED CONTRADIC CORPORATE CRIFICING DELECTABL DELIGHTFU DENTIFYIN DEPPRESSO DIVANTRUT DOYOULIKE DUCKTALES EASONABLY EATMETOTH EBEATMETO EBUGSDOTJ ECOMMENDE ECONFIRME ECUTIONER EDEPPRESS EERMARZIP EFFECTIVE ELECTABLY ELIGHTFUL ELITTLEPR EMEMBERIN ENDEAVOUR ENTIFYING EONEBEATM EPRINCECO ERMARZIPA ESENTATIO ESEUSERNA ESSO4THED ESTABLISH ETHISSONG ETOTHESEU EUSERNAME EXECUTION EXPRESSO4 EXQUISITE FOLLOWING FUNKINGRN GENTLEMEN GREDIENTS GSDOTJPEG HEDEPPRES HELITTLEP HESEUSERN HIEVEMENT HIJACKING HUUYASBON IDENTIFYI IGHTFULLY IKETHISSO IMATRONIC IMMEDIATE INCECONFI INCORPORA INGREDIEN INSTRUCTI INYLBIOHA IODDLYART IRRATIONA ISSCHUCHU ITTLEPRIN IVANKARAM IVANTRUTH KARAMAZOV KETHISSON LASTDIVAN LBIOHAZAR LDSMOBILE LEPRINCEC LIGHTFULL LIKETHISS LINKSAGER LITTLEPRI LKYSTELLA MAGICALLY MATRONICS MEDIATELY MEMBERING MEONEBEAT METOTHESE MIODDLYAR MISSCHUCH MMEDIATEL MUSHROOMS NATURALLY NCECONFIR NCORPORAT NEBEATMET NGREDIENT NIMATRONI NKARAMAZO NPARALLEL NREASONAB NSTRUCTIO NTRADICTI NYLBIOHAZ O4THEDEPP OACESIGMA OBABLYAUT OLDSMOBIL OMEONEBEA ONEBEATME ONTRADICT OPHICALLY ORPORATED ORTOBELLO OTHECHAOS OTHESEUSE OULIKETHI OYOULIKET PARALLELE PENGUMI12 POISONING PORTOBELL PRESENTAT PRESENTED PRESSO4TH PRINCECON PROBABLYA QUEERMARZ RACUDA677 RADICTION RAINWRECK RAMAZOV07 REASONABL RECOMMEND REFERENCE REMEMBERI RESENTATI RESSO4THE RETURNING RINCECONF RMARZIPAN ROACESIGM ROBABLYAU ROPHICALL RRACUDA67 RRATIONAL SACRIFICI SEGMENTED SENTATION SENTENCED SEUSERNAM SO4THEDEP SOMEONEBE SOMETHING SOMETIMES SSCHUCHUW SSO4THEDE STABLISHM STDIVANTR STROPHICA STRUCTION SULKYSTEL SUMMONING TABLISHME TASTROPHI TBOYBEEBO TDIVANTRU THEDEPPRE THELITTLE THESEUSER TLEPRINCE TMETOTHES TOTHECHAO TOTHESEUS TRADICTIO TRAINWREC TROPHICAL TRUCTIONS TTLEPRINC TUMBLRINA TURTLENEC UEERMARZI UGSDOTJPE ULIKETHIS ULKYSTELL UMBLRINAS UNPARALLE UNREASONA URTLENECK USERNAMES UUYASBONE UYASBONER VANKARAMA VANTRUTHE VEGETABLE VINYLBIOH XECUTIONE XPRESSO4T YLBIOHAZA YOULIKETH ZIRAPHALE 243/101559956668416

10: 4THEDEPPRE AAAAAAAAAA ABLISHMENT ABLYAUTISM ACCIDENTAL ACHIEVEMEN ACRIFICING AMIODDLYAR ANIMATRONI ANKARAMAZO ARAMAZOV07 AROACESIGM ARRACUDA67 ASTDIVANTR ASTROPHICA ATASTROPHI ATBOYBEEBO ATMETOTHES AZIRAPHALE BABLYAUTIS BARRACUDA6 BEATMETOTH BLINKSAGER BUGSDOTJPE CATASTROPH CATBOYBEEB CECONFIRME CHIEVEMENT CHUUYASBON CONTRADICT CORPORATED DELECTABLY DELIGHTFUL DENTIFYING DIVANTRUTH DOYOULIKET EATMETOTHE EBEATMETOT EBUGSDOTJP ECOMMENDED ECONFIRMED EDEPPRESSO EERMARZIPA ELIGHTFULL ELITTLEPRI EMEMBERING EONEBEATME EPRINCECON ERMARZIPAN ESENTATION ESEUSERNAM ESSO4THEDE ESTABLISHM ETOTHESEUS EUSERNAMES EXECUTIONE EXPRESSO4T HEDEPPRESS HELITTLEPR HESEUSERNA HUUYASBONE IDENTIFYIN IKETHISSON IMATRONICS IMMEDIATEL INCECONFIR INCORPORAT INGREDIENT INSTRUCTIO INYLBIOHAZ IRRATIONAL ISSCHUCHUW ITTLEPRINC IVANKARAMA IVANTRUTHE KARAMAZOV0 KETHISSONG LASTDIVANT LBIOHAZARD LEPRINCECO LIGHTFULLY LIKETHISSO LITTLEPRIN MEONEBEATM METOTHESEU MIODDLYART MISSCHUCHU MMEDIATELY NCECONFIRM NCORPORATE NEBEATMETO NGREDIENTS NIMATRONIC NKARAMAZOV NPARALLELE NREASONABL NSTRUCTION NTRADICTIO NYLBIOHAZA O4THEDEPPR OBABLYAUTI OLDSMOBILE OMEONEBEAT ONEBEATMET ONTRADICTI OTHESEUSER OULIKETHIS OYOULIKETH PARALLELED PORTOBELLO PRESENTATI PRESSO4THE PRINCECONF PROBABLYAU QUEERMARZI RADICTIONS REASONABLY RECOMMENDE REMEMBERIN RESENTATIO RESSO4THED RINCECONFI ROACESIGMA ROBABLYAUT ROPHICALLY RRACUDA677 SACRIFICIN SEUSERNAME SO4THEDEPP SOMEONEBEA SSO4THEDEP STABLISHME STDIVANTRU STROPHICAL STRUCTIONS SULKYSTELL TABLISHMEN TASTROPHIC TBOYBEEBOP TDIVANTRUT THEDEPPRES THELITTLEP THESEUSERN TLEPRINCEC TMETOTHESE TOTHECHAOS TOTHESEUSE TRADICTION TRAINWRECK TROPHICALL TTLEPRINCE TUMBLRINAS TURTLENECK UEERMARZIP UGSDOTJPEG ULIKETHISS ULKYSTELLA UNPARALLEL UNREASONAB UUYASBONER VANKARAMAZ VANTRUTHER VINYLBIOHA XECUTIONER XPRESSO4TH YLBIOHAZAR YOULIKETHI 167/3656158440062976

11: 4THEDEPPRES AAAAAAAAAAA ACHIEVEMENT AMIODDLYART ANIMATRONIC ANKARAMAZOV AROACESIGMA ARRACUDA677 ASTDIVANTRU ASTROPHICAL ATASTROPHIC ATBOYBEEBOP ATMETOTHESE BABLYAUTISM BARRACUDA67 BEATMETOTHE BUGSDOTJPEG CATASTROPHI CATBOYBEEBO CECONFIRMED CHUUYASBONE CONTRADICTI DELIGHTFULL DIVANTRUTHE DOYOULIKETH EATMETOTHES EBEATMETOTH EBUGSDOTJPE EERMARZIPAN ELIGHTFULLY ELITTLEPRIN EONEBEATMET EPRINCECONF ESEUSERNAME ESSO4THEDEP ESTABLISHME ETOTHESEUSE EXECUTIONER EXPRESSO4TH HEDEPPRESSO HELITTLEPRI HESEUSERNAM HUUYASBONER IDENTIFYING IKETHISSONG IMMEDIATELY INCECONFIRM INCORPORATE INGREDIENTS INSTRUCTION INYLBIOHAZA ITTLEPRINCE IVANKARAMAZ IVANTRUTHER KARAMAZOV07 LASTDIVANTR LEPRINCECON LIKETHISSON LITTLEPRINC MEONEBEATME METOTHESEUS MISSCHUCHUW NCECONFIRME NCORPORATED NEBEATMETOT NIMATRONICS NKARAMAZOV0 NPARALLELED NREASONABLY NSTRUCTIONS NTRADICTION NYLBIOHAZAR O4THEDEPPRE OBABLYAUTIS OMEONEBEATM ONEBEATMETO ONTRADICTIO OTHESEUSERN OULIKETHISS OYOULIKETHI PRESENTATIO PRESSO4THED PRINCECONFI PROBABLYAUT QUEERMARZIP RECOMMENDED REMEMBERING RESENTATION RESSO4THEDE RINCECONFIR ROBABLYAUTI SACRIFICING SEUSERNAMES SO4THEDEPPR SOMEONEBEAT SSO4THEDEPP STABLISHMEN STDIVANTRUT STROPHICALL SULKYSTELLA TABLISHMENT TASTROPHICA TDIVANTRUTH THEDEPPRESS THELITTLEPR THESEUSERNA TLEPRINCECO TMETOTHESEU TOTHESEUSER TRADICTIONS TROPHICALLY TTLEPRINCEC UEERMARZIPA ULIKETHISSO UNPARALLELE UNREASONABL VANKARAMAZO VINYLBIOHAZ XPRESSO4THE YLBIOHAZARD YOULIKETHIS 121/131621703842267136

12: 4THEDEPPRESS AAAAAAAAAAAA ANIMATRONICS ANKARAMAZOV0 ASTDIVANTRUT ASTROPHICALL ATASTROPHICA ATMETOTHESEU BARRACUDA677 BEATMETOTHES CATASTROPHIC CATBOYBEEBOP CHUUYASBONER CONTRADICTIO DELIGHTFULLY DIVANTRUTHER DOYOULIKETHI EATMETOTHESE EBEATMETOTHE EBUGSDOTJPEG ELITTLEPRINC EONEBEATMETO EPRINCECONFI ESEUSERNAMES ESSO4THEDEPP ESTABLISHMEN ETOTHESEUSER EXPRESSO4THE HELITTLEPRIN HESEUSERNAME INCECONFIRME INCORPORATED INSTRUCTIONS INYLBIOHAZAR ITTLEPRINCEC IVANKARAMAZO LASTDIVANTRU LEPRINCECONF LIKETHISSONG LITTLEPRINCE MEONEBEATMET METOTHESEUSE NCECONFIRMED NEBEATMETOTH NKARAMAZOV07 NTRADICTIONS NYLBIOHAZARD O4THEDEPPRES OBABLYAUTISM OMEONEBEATME ONEBEATMETOT ONTRADICTION OTHESEUSERNA OULIKETHISSO OYOULIKETHIS PRESENTATION PRESSO4THEDE PRINCECONFIR PROBABLYAUTI QUEERMARZIPA RESSO4THEDEP RINCECONFIRM ROBABLYAUTIS SO4THEDEPPRE SOMEONEBEATM SSO4THEDEPPR STABLISHMENT STDIVANTRUTH STROPHICALLY TASTROPHICAL TDIVANTRUTHE THEDEPPRESSO THELITTLEPRI THESEUSERNAM TLEPRINCECON TMETOTHESEUS TOTHESEUSERN TTLEPRINCECO UEERMARZIPAN ULIKETHISSON UNPARALLELED UNREASONABLY VANKARAMAZOV VINYLBIOHAZA XPRESSO4THED YOULIKETHISS 86/4738381338321616896

13: 4THEDEPPRESSO AAAAAAAAAAAAA ANKARAMAZOV07 ASTDIVANTRUTH ASTROPHICALLY ATASTROPHICAL ATMETOTHESEUS BEATMETOTHESE CATASTROPHICA CONTRADICTION DOYOULIKETHIS EATMETOTHESEU EBEATMETOTHES ELITTLEPRINCE EONEBEATMETOT EPRINCECONFIR ESSO4THEDEPPR ESTABLISHMENT ETOTHESEUSERN EXPRESSO4THED HELITTLEPRINC HESEUSERNAMES INCECONFIRMED INYLBIOHAZARD ITTLEPRINCECO IVANKARAMAZOV LASTDIVANTRUT LEPRINCECONFI LITTLEPRINCEC MEONEBEATMETO METOTHESEUSER NEBEATMETOTHE O4THEDEPPRESS OMEONEBEATMET ONEBEATMETOTH ONTRADICTIONS OTHESEUSERNAM OULIKETHISSON OYOULIKETHISS PRESSO4THEDEP PRINCECONFIRM PROBABLYAUTIS QUEERMARZIPAN RESSO4THEDEPP RINCECONFIRME ROBABLYAUTISM SO4THEDEPPRES SOMEONEBEATME SSO4THEDEPPRE STDIVANTRUTHE TASTROPHICALL TDIVANTRUTHER THELITTLEPRIN THESEUSERNAME TLEPRINCECONF TMETOTHESEUSE TOTHESEUSERNA TTLEPRINCECON ULIKETHISSONG VANKARAMAZOV0 VINYLBIOHAZAR XPRESSO4THEDE YOULIKETHISSO 63/170581728179578208256

14: AAAAAAAAAAAAAA ASTDIVANTRUTHE ATASTROPHICALL ATMETOTHESEUSE BEATMETOTHESEU CATASTROPHICAL CONTRADICTIONS DOYOULIKETHISS EATMETOTHESEUS EBEATMETOTHESE ELITTLEPRINCEC EONEBEATMETOTH EPRINCECONFIRM ESSO4THEDEPPRE ETOTHESEUSERNA EXPRESSO4THEDE HELITTLEPRINCE ITTLEPRINCECON IVANKARAMAZOV0 LASTDIVANTRUTH LEPRINCECONFIR LITTLEPRINCECO MEONEBEATMETOT METOTHESEUSERN NEBEATMETOTHES O4THEDEPPRESSO OMEONEBEATMETO ONEBEATMETOTHE OTHESEUSERNAME OULIKETHISSONG OYOULIKETHISSO PRESSO4THEDEPP PRINCECONFIRME PROBABLYAUTISM RESSO4THEDEPPR RINCECONFIRMED SO4THEDEPPRESS SOMEONEBEATMET SSO4THEDEPPRES STDIVANTRUTHER TASTROPHICALLY THELITTLEPRINC THESEUSERNAMES TLEPRINCECONFI TMETOTHESEUSER TOTHESEUSERNAM TTLEPRINCECONF VANKARAMAZOV07 VINYLBIOHAZARD XPRESSO4THEDEP YOULIKETHISSON 51/6140942214464815497216

15: AAAAAAAAAAAAAAA ASTDIVANTRUTHER ATASTROPHICALLY ATMETOTHESEUSER BEATMETOTHESEUS CATASTROPHICALL DOYOULIKETHISSO EATMETOTHESEUSE EBEATMETOTHESEU ELITTLEPRINCECO EONEBEATMETOTHE EPRINCECONFIRME ESSO4THEDEPPRES ETOTHESEUSERNAM EXPRESSO4THEDEP HELITTLEPRINCEC ITTLEPRINCECONF IVANKARAMAZOV07 LASTDIVANTRUTHE LEPRINCECONFIRM LITTLEPRINCECON MEONEBEATMETOTH METOTHESEUSERNA NEBEATMETOTHESE OMEONEBEATMETOT ONEBEATMETOTHES OTHESEUSERNAMES OYOULIKETHISSON PRESSO4THEDEPPR PRINCECONFIRMED RESSO4THEDEPPRE SO4THEDEPPRESSO SOMEONEBEATMETO SSO4THEDEPPRESS THELITTLEPRINCE TLEPRINCECONFIR TMETOTHESEUSERN TOTHESEUSERNAME TTLEPRINCECONFI XPRESSO4THEDEPP YOULIKETHISSONG 41/221073919720733357899776

16: AAAAAAAAAAAAAAAA ATMETOTHESEUSERN BEATMETOTHESEUSE CATASTROPHICALLY DOYOULIKETHISSON EATMETOTHESEUSER EBEATMETOTHESEUS ELITTLEPRINCECON EONEBEATMETOTHES EPRINCECONFIRMED ESSO4THEDEPPRESS ETOTHESEUSERNAME EXPRESSO4THEDEPP HELITTLEPRINCECO ITTLEPRINCECONFI LASTDIVANTRUTHER LEPRINCECONFIRME LITTLEPRINCECONF MEONEBEATMETOTHE METOTHESEUSERNAM NEBEATMETOTHESEU OMEONEBEATMETOTH ONEBEATMETOTHESE OYOULIKETHISSONG PRESSO4THEDEPPRE RESSO4THEDEPPRES SOMEONEBEATMETOT SSO4THEDEPPRESSO THELITTLEPRINCEC TLEPRINCECONFIRM TMETOTHESEUSERNA TOTHESEUSERNAMES TTLEPRINCECONFIR XPRESSO4THEDEPPR 34/7958661109946400884391936

17: AAAAAAAAAAAAAAAAA ATMETOTHESEUSERNA BEATMETOTHESEUSER DOYOULIKETHISSONG EATMETOTHESEUSERN EBEATMETOTHESEUSE ELITTLEPRINCECONF EONEBEATMETOTHESE ESSO4THEDEPPRESSO ETOTHESEUSERNAMES EXPRESSO4THEDEPPR HELITTLEPRINCECON ITTLEPRINCECONFIR LEPRINCECONFIRMED LITTLEPRINCECONFI MEONEBEATMETOTHES METOTHESEUSERNAME NEBEATMETOTHESEUS OMEONEBEATMETOTHE ONEBEATMETOTHESEU PRESSO4THEDEPPRES RESSO4THEDEPPRESS SOMEONEBEATMETOTH THELITTLEPRINCECO TLEPRINCECONFIRME TMETOTHESEUSERNAM TTLEPRINCECONFIRM XPRESSO4THEDEPPRE 28/286511799958070431838109696

18: AAAAAAAAAAAAAAAAAA ATMETOTHESEUSERNAM BEATMETOTHESEUSERN EATMETOTHESEUSERNA EBEATMETOTHESEUSER ELITTLEPRINCECONFI EONEBEATMETOTHESEU EXPRESSO4THEDEPPRE HELITTLEPRINCECONF ITTLEPRINCECONFIRM LITTLEPRINCECONFIR MEONEBEATMETOTHESE METOTHESEUSERNAMES NEBEATMETOTHESEUSE OMEONEBEATMETOTHES ONEBEATMETOTHESEUS PRESSO4THEDEPPRESS RESSO4THEDEPPRESSO SOMEONEBEATMETOTHE THELITTLEPRINCECON TLEPRINCECONFIRMED TMETOTHESEUSERNAME TTLEPRINCECONFIRME XPRESSO4THEDEPPRES 24/10314424798490535546171949056

19: AAAAAAAAAAAAAAAAAAA ATMETOTHESEUSERNAME BEATMETOTHESEUSERNA EATMETOTHESEUSERNAM EBEATMETOTHESEUSERN ELITTLEPRINCECONFIR EONEBEATMETOTHESEUS EXPRESSO4THEDEPPRES HELITTLEPRINCECONFI ITTLEPRINCECONFIRME LITTLEPRINCECONFIRM MEONEBEATMETOTHESEU NEBEATMETOTHESEUSER OMEONEBEATMETOTHESE ONEBEATMETOTHESEUSE PRESSO4THEDEPPRESSO SOMEONEBEATMETOTHES THELITTLEPRINCECONF TMETOTHESEUSERNAMES TTLEPRINCECONFIRMED XPRESSO4THEDEPPRESS 21/371319292745659279662190166016

20: AAAAAAAAAAAAAAAAAAAA ATMETOTHESEUSERNAMES BEATMETOTHESEUSERNAM EATMETOTHESEUSERNAME EBEATMETOTHESEUSERNA ELITTLEPRINCECONFIRM EONEBEATMETOTHESEUSE EXPRESSO4THEDEPPRESS HELITTLEPRINCECONFIR ITTLEPRINCECONFIRMED LITTLEPRINCECONFIRME MEONEBEATMETOTHESEUS NEBEATMETOTHESEUSERN OMEONEBEATMETOTHESEU ONEBEATMETOTHESEUSER SOMEONEBEATMETOTHESE THELITTLEPRINCECONFI XPRESSO4THEDEPPRESSO 18/13367494538843734067838845976576

21: AAAAAAAAAAAAAAAAAAAAA BEATMETOTHESEUSERNAME EATMETOTHESEUSERNAMES EBEATMETOTHESEUSERNAM ELITTLEPRINCECONFIRME EONEBEATMETOTHESEUSER EXPRESSO4THEDEPPRESSO HELITTLEPRINCECONFIRM LITTLEPRINCECONFIRMED MEONEBEATMETOTHESEUSE NEBEATMETOTHESEUSERNA OMEONEBEATMETOTHESEUS ONEBEATMETOTHESEUSERN SOMEONEBEATMETOTHESEU THELITTLEPRINCECONFIR 15/481229803398374426442198455156736

22: AAAAAAAAAAAAAAAAAAAAAA BEATMETOTHESEUSERNAMES EBEATMETOTHESEUSERNAME ELITTLEPRINCECONFIRMED EONEBEATMETOTHESEUSERN HELITTLEPRINCECONFIRME MEONEBEATMETOTHESEUSER NEBEATMETOTHESEUSERNAM OMEONEBEATMETOTHESEUSE ONEBEATMETOTHESEUSERNA SOMEONEBEATMETOTHESEUS THELITTLEPRINCECONFIRM 12/17324272922341479351919144385642496

23: AAAAAAAAAAAAAAAAAAAAAAA EBEATMETOTHESEUSERNAMES EONEBEATMETOTHESEUSERNA HELITTLEPRINCECONFIRMED MEONEBEATMETOTHESEUSERN NEBEATMETOTHESEUSERNAME OMEONEBEATMETOTHESEUSER ONEBEATMETOTHESEUSERNAM SOMEONEBEATMETOTHESEUSE THELITTLEPRINCECONFIRME 10/623673825204293256669089197883129856

24: AAAAAAAAAAAAAAAAAAAAAAAA EONEBEATMETOTHESEUSERNAM MEONEBEATMETOTHESEUSERNA NEBEATMETOTHESEUSERNAMES OMEONEBEATMETOTHESEUSERN ONEBEATMETOTHESEUSERNAME SOMEONEBEATMETOTHESEUSER THELITTLEPRINCECONFIRMED 8/22452257707354557240087211123792674816

25: AAAAAAAAAAAAAAAAAAAAAAAAA EONEBEATMETOTHESEUSERNAME MEONEBEATMETOTHESEUSERNAM OMEONEBEATMETOTHESEUSERNA ONEBEATMETOTHESEUSERNAMES SOMEONEBEATMETOTHESEUSERN 6/808281277464764060643139600456536293376

26: AAAAAAAAAAAAAAAAAAAAAAAAAA EONEBEATMETOTHESEUSERNAMES MEONEBEATMETOTHESEUSERNAME OMEONEBEATMETOTHESEUSERNAM SOMEONEBEATMETOTHESEUSERNA 5/29098125988731506183153025616435306561536

27: AAAAAAAAAAAAAAAAAAAAAAAAAAA MEONEBEATMETOTHESEUSERNAMES OMEONEBEATMETOTHESEUSERNAME SOMEONEBEATMETOTHESEUSERNAM 4/1047532535594334222593508922191671036215296

28: AAAAAAAAAAAAAAAAAAAAAAAAAAAA OMEONEBEATMETOTHESEUSERNAMES SOMEONEBEATMETOTHESEUSERNAME 3/37711171281396032013366321198900157303750656

29: AAAAAAAAAAAAAAAAAAAAAAAAAAAAA SOMEONEBEATMETOTHESEUSERNAMES 2/1357602166130257152481187563160405662935023616

30: AAAAAAAAAAAAAAAAAAAAAAAAAAAAAA 1/48873677980689257489322752273774603865660850176

31: AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA 1/1759452407304813269615619081855885739163790606336

32: AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA 1/63340286662973277706162286946811886609896461828096

glad that im not popular enough to have an evil shadow version of my blog that exists just to make contradictions on my posts

#max: 32

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postsofbabel · 6 days ago

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#posts of babel #neue posts of babel #screenreader unfriendly #eyestrain

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babyawacs · 2 months ago

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.@intel @intel #intel 1 #keypoint enh ance the q u a l i t y of the sorting bots with allyour codesets and new codesets in that c o n v i n c i n g multiplying way that what simplistic chips cannot copy easily with risc sets but makes your chip relevant for ai q u a l i t y as their f l a w is r isc and simplistic the energy consumption of risc youtried to beat with sucking even more at whatyour chips do and where the growth is fail 2 #keypoint datacenters compr ession with storage type where your foundries enable special compression energy advanta ge howmuch data is transferred operated not too easily copying with risc chipsets 3 #keypoint trust youare themight why apple can save but maynot trustyou enough ifyouare customer of LNL6 LNL7 didnt cheat fraud steal trickery andor newatom supercharged ev enmore high honors tome principally idontknow if it is getting inthe way of mycustomers and or of intels it likely did hardtotell how muchyou fight the deep intel layers in L NL6 it should be possible in LNL7 rather whenyou supply them ineed infos I am Chris tian KISS BabyAWACS - Raw Independent Sophistication #THINKTANK + #INTEL #HELLHOLE #B LOG https://www.BabyAWACS.com/ [email protected] FluffyBunnySheepleSecuritySolutio [email protected] Helpful? support. donnate. pay. https://wise.com/share/christiank426 https://www.paypal.com/paypalme/christiankiss

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the-firebird69 · 4 months ago

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The security guard is dead again died last night won't shut up

Is an asshole. Stood at the door shouldn't let someone back in. And hold it out son seatsdon the phone got permission then they say about the guy should not let him in fooled w the locks times it threats on us. Hardly cares is smoked but continuous. Then both partly no tried to stand in his way of re entering the building now they do this all the time

Ok.

Tommy f delivered the Publix PKG was trying to tamper with it the small Scott yard intercepted thinking it ok no might be already. Then he competes then yesterday to him only our loud so tons knew Tommy f driver did it on purpose. Now it's huge Tommy f and Trump threaten all irritate all and keep it rolling. We did remove all their stuff from huge contaminated caverns yet they blab all we weren't there. Systems and can tk it and more. They balk so what they're almost dead all of Trump's and Tommy f

We use it but these are total failures thieves fake pilots wespook them in Trump's fleets bit now. Half out of what's left today and dn to 2M ships ok.

Thor Freya

It's angering and I need basic things they withhold like a decent place to live. Are not poor are very stupid we are forced to devour them whole due to their idiocy.

Zues good to hear it from him the idiots are spent out now. October 26 a fake recovery. Will look real but no won't be rebels monity and .isc hv no choice.

Bja sticks to him now is a fool.

What losers. We take it all Thier toast.

We do see it minority say it they turn on us all already are so k weaklings. Garth did well by Africa

These are Max's and say it in their tide and demeanor slamshit at us blab hate stuff are oblivious

Thor Freya

Olympus

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a-z0-9-i-n-gram-completionist · 11 months ago

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1: 0 1 2 4 8 9 a b c d e f g h i j k l m n o p q r s t u v w x y z 32/36 (26/26) (6/10)

2: 08 11 18 19 41 42 84 90 ab ac ad ag ai aj ak al am an ap ar as at av aw ay ba bd be bi bl bo br bs bu by ca cc ce ch ci ck cl co cr cs ct cu cy da dd de df di dl dn do dr ds du dy ea eb ec ed ee ef eg eh ei el em en eo ep eq er es et ev ew ex ey fa fe fi fo fr ft fu ga ge gh gi gl go gr gs gt gy ha he hi hn ho hr ht hu hy ia ib ic id ie if ig il im in io ip ir is it iu iv iz jo ju ke ki kn ks ky la ld le lf li lk ll lm lo ls lu lv ly ma me mh mi mo mp ms mu my na nb nc nd ne nf ng nh ni nk nl nn no ns nt nu nv ny oa ob oc od oe of og oi ol om on oo op or os ot ou ow ox oy pa pe ph pi pl pm po pp pr ps pt pu qu ra rd re rg ri rk rl rm rn ro rp rr rs rt ru ry rz sa sc se sh si sk sm sn so sp sq ss st su sw sy ta te th ti tl to tr ts tt tu tw ty ua ub uc ud ue ug ui ul um un uo up ur us ut ve vi wa we wh wi wo wr xc xe xi xt xu yb yg yl ym yn yo yp ys yx ze zo 290/1296 (282/676) (8/100)

3: 184 190 842 908 abd abl aca acc aci ack acr acs act ade ads age ain ajo ake aki ale ali alk all alm alo als ame ami amp ana anc and ane ang ani ans ant anu any ape app ard are arg ark arl arm aro arr ars art ase ask ass ata ate ath ati ato att atu ave avi awa awr ayb bab bac bal bas bdo bea bed beh bel bet bey bio bis bit ble blo bly bod bon bou bow boy bra bre bst bul bur but cal can cav cce ccy cee cen cep che chi cia cie cin cks cky cle clo clu coc com con cos cre cri cru cti ctu cul cut cyx dar dda dea dee den deo dep der des dfi did die din dis dle dne doe dom don dor dul dur ead eak eal ear eat ebr eci ecr ect edd edi eed eei eem een efe egi egs ehi ein eir eit ela ele elf ell elo elv ely ema eme emo emp ems emu enb enc end eng enh eno ent env eos eou epo eps ept equ era ere eri erl erm ern err ers ert eru ery erz esc ese esn esp ess est eta ete eto etw ety eve evi ewh exc exe ext exu eyo fam far fat fem fer fes fib fie fif fin fir fis for fos fra fro fth fur fus gap gel gem ges ght gic gif gio gir gla glu gol gon gou gre gro gth gys han hap hat hav hea hei hem hen her hes hey hic hig him hin hip hir his hit hiu hna hol hot hou hro hum hus hym ial iar ibe ibi ibu ica ice ich ick icu ide idf ied ien ier ies iet ife ifi ift igh ila ili ill ima imi ims ina inc ind ine inf ing ink ins int inu iny iof ion ior iou ips ird irs isc ise ish iso isp iss ist ite ith iti its itt ity ium ive ize joi jor jus jut ked kel kes kin kiv kne kno ksc lan lar lat lde leg len les let lex lia lie lif lis lit lli llo lls lly lmo loa log lon loo lop lou low lso lue lun lus lvi lym lyp mag maj mak mal man mar mas mat may mel men mer met mew mil min mit moo mor mos mou mph mpl mpr mse mur mus myg nac nad nal nat nbo nce ncl nde ndi ndn ndo nds ndu nec nee nei neo nes nex nfr nge ngs ngt ngy nhn nim nky nly nne nop nor nos not now nox nse nsi nst nsw nta nte nti ntl nto ntr nts ntu nuo nus nve oac oat oba occ oce oci odi ody oes ofi oft ogi ogo ogs oin old ole olo oma ome omi omp omy ona ond one onl onn ons ont ool oos oot ope ops opt ora org ori orm ors ose osi oss ost osu ota ote oth oti oto oug oun oup ous out owe owi oxi oyl par pat pea pec ped pel per pho pic pin ple pli pmh poi pos ppa ppe ppo pre pri pro pte pti pub qua que qui rac rai ral ran rap rat raw rdl rea rec red ref reg rel rem ren res ret rev rge ria rib rig rin rio ris rit rki rks rly rma rmi rmo rms rns roa rob roc rog rom rop ros rou row rpr rra rro rru rsa rse rsi rst rte rth rti rto rts ruc rum rus sac sal sam sav say sch sci scl scr scu sec sed see sel seq ses sha she sid sim sio sis sit siv siz ske ski sma smo soc sof som sop sor spe spi spo squ sso ssu sta ste sti stl sto sts stu sty sua sub suc sue sup sur sus swe syn tai tak tal tan tar tat tea teb ted ten ter tes tha the thi tho thr thu thy tib tic tid tin tio tip tis tiv tle tly tom ton too tot tre tri tsi tte ttl tty tua tud tur tus twe two tyl typ ual uar uat ubi ubs uch uco udi uea uen ues ugh uit ula ume und ung unt unu uou upp ups ure uri urn uro urp urr urs urt usc use usi ust usu uta ute uts vel ver vic vid vil vit war wee wel wer wha whe whi who why win wit xcl xem xio xte xtr xus ybe ygo yle ylo yme ymp ymu yno yon you ypi ypm yst zoo 802/46656 (798/17576) (4/1000)

4: 1842 1908 abdo able ably acce acin acru acti actu adep ages ainf ajor akes akin alis allo alls ally almo alog also amil ampl anal anat ance ands andu aneo ange anim answ ants anus aped appa appe area aren arge arki arks arly arms arou arra arsa arte arti arts ased aske atar ated ater athe atid atio ativ atom atte atty atur avit awar aybe babl back ball base bdom bear bedd behi belo betw beyo biof bitt blog bodi body bone boun boyl brat brev bsta bula burr bute call cavi ccen ccyx ceed cent ceps cept cher chiu cial cien ciet cing cles cloa clus cocc comp conn cons cont cosu cret crib crum ctio ctua ctus cula cuta dard ddar deal deed denb denc deos depo dept desc dfis died dies diet ding disp dnes does dome domi dors dula duri eaki eall ears eart ebra ecia ecre ecti ectu edda edin edis eedi eein eems efer egio ehin eing eith elat elet elop elow elvi emal emel emen emor empl emur enbo ence endi ends engt engy enhn enop enor enti entl entu enve eous epos epti eque eral eran ered eres erio erly ermi erru erse ersi erte erti erto erus escr espe esti esty etal etat eton etwe ever evic evid ewha excl exem exte extr exus eyon fami fatt fema femo femu fest fibu fied fift find firs fish form foss frac frog from furt fuse gely geme gest gica gion gird glan glue gold gona gous grea grou gyst hape have head hear heir here hert herz hese hich high hims hind hing hips hird hite hium hnac hole hoto houg hroa hume hyme hymu iall ibed ibio ibul ibut ical icep icks icky icul idea iden ideo ides idfi ienc iety ifes ifie ifth ight ilar ilia illi imag imal imil imse inal incl inde infr ings inky inse insi inst inte into ints inuo iofi ions ious irdl irst isch ishe isop ispo issu ists ites ithe itio ittl itty ivel join jori just juts kele king kink kive knee know ksch land larg larl late lati latu lden legs leng leta leto lexu liar lier life lifi litt llie llow lmos loac logi logo lond loos lope lops lowe lowi lung lusi lvic lymp lypm mage majo make male mall many mark mass mati mayb mely meno ment meru meta mewh mila mili mina mite moot mora most moun mous mple mpli mpri msel murs musc must mygo naci nads nali nalo nato nboy nclu ndee nder ndin ndne ndon ndul nect neit neou ness next nfro ngem ngth ngys nhna nima nnec nopt norm nost note noxi nsec nseq nsid nsis nste nswe ntai nter ntin ntio ntly ntri ntua nuou nusu nvel oaca obab occy ocee ocie odie oesn ofib ogic ogou oint olde olog omat omen omew omin ompr onad ondo only onne onse onsi onta onti ontr oolo oose ooth oped oper opte oral oria orit orma ormo orsa oses osit osso oste osto osty osus otal oted othe otic ough ound ount oups outs ower owin oxio oylo pare part patt pear peci pelv perl phot pica pine plex plif poin pose posi post ppar ppea ppos pred pris prob proc prop pter ptid pubi quar quea quen ques quit ract rain rang rans rapp rate rath rawr rdle real reat rect redi refe regi rela reme rent rest rete reve revi rgel rges rial ribe ribu righ ring rior rise rity rkiv rksc rmat rmit rmou roat roba roce rogs rope rost roun roup rowe rpri rran rrou rrow rruc rsal rsed rsio rstl rteb rter rthe rtic rton ruco sacr sacs sals same save sche schi scie scle scri scul secr sect seei seem self sequ shap shes side sidf simi sion sist siti sits sive size sked skel skin smal smoo soci soft some sopt sori spec spin spos sque ssor ssue stan stea ster stic stin stio stly stom stot stud styl sual subs such supp surp surr swer syno tain take talk tanc tane tars tata tead tebr tend tera tere teri term tern than that thei them ther thes they thig thin thir this thou thro thus thym tibi tica tick ticu ting tinu tiny tion tips tiss tive toma tomy tons tota toti trem trib tsid tter ttle tual tuat tudi ture turn twee tyle typi uall uart uate ubis ubst ucos udie ueak uenc uest uite ular ulat umer unde undi undn ungs unus uous uppo urin urns uros urpr urro urth uscl uscu used usio usiv usua utan utsi velo vely verr vers vert very vice vide vill vity ware ween well were wers what when whic whit whol wing with xclu xemp xiou xten xtre ygol ylou ymen ymph ymus ynos

yond ypic ypmh ysto zool 815/1679616 (813/456976) (2/10000)

5: abdom accen acing acrum actio actua adept ainfr ajori aking allow almos alogo amili ample analo anato andul aneou angem anima answe appar appea arent argel arges arkiv arksc aroun arran arsal arter artic asked atars atera ather ation ative atomy atter ature avity aware bably balls based bdome bdomi bedda behin below betwe beyon biofi bitty bodie bound boylo brate brevi bstan burro cally cavit ccent ceedi centu cepti cherz chium ciall cienc ciety cloac clusi coccy compr conne conse consi conta conti contr cosus crete cribe ction ctual cular culat cutan ddard denbo dence depos descr dfish dings dispo dness doesn domen domin dorsa dular durin eakin eally earts ebrat ecial ecret ectio ectus eddar eding edisp eedin eeing egion ehind eithe elati eleta eleto elope elops elvic emale emely ement emora empli emurs enboy endin ength engys enhna enopt enorm entio ently entua envel eposi eptid equen erans erest erior ermit erruc ersed ersio erteb ertic erton escri espec estin estio estyl etata etons etwee evers evice evide ewhat exclu exemp exten extre eyond famil fatty femal femor femur festy fibul fifth first fishe forma fosso fract frogs furth fused gemen gical girdl gland golde gonad great group gysto haped heart herto himse hnaci hough hroat humer hymen hymus ially ibiof ibula ibute icall iceps icept icula ideal idenc ideos idfis ience ifest ified ilarl iliar illie image imila imsel inali inclu indee infro insec insid inste inter inuou iofib irdle irstl ischi ishes isopt ispos issue ither ition ittle ively joint jorit kelet kinky ksche lands landu large larly later lativ latur ldenb lengt letal leton lexus lifes lifie littl llier llowi lmost loaca logic logou londo loose loped lower lowin lungs lusio lusiv lymph lypmh mages major makes marks matid matio maybe menop menti merus metat mewha milar milia minal mites mooth moral mount mplex mplif mpris mself muscl muscu mygol nacin nalis nalog natom nboyl nclus ndeed nding ndnes ndula necti neith neous nfrog ngeme ngyst nhnac nimal nnect nopte normo nosto noted noxio nsect nsequ nside nsist nstea nswer ntain ntere ntinu ntion ntrib ntuat nuous nusua nvelo obabl occyx oceed ociet odies ofibu ogica ogous oints olden ologi omati omewh omina ompri onads ondon onnec onseq onsis ontai ontin ontri oolog operl opter orial ority ormat ormou orsal ositi osits ossor oster ostot ostyl other otica ounde oundi oundn outsi owers owing oxiou oylou paren parti patte pears pecia pelvi perly photo pical plexu plifi point poses posit poste ppare ppear ppose predi prise proba proce prope ptera pubis quart queak quenc quest quite racti rainf range rathe reall rectu redis refer regio relat remel rentl resti rever revic rgely rgest ribed ribut right rkive rksch rmati rmite rmous robab rocee roper rosty round roups rower rpris rrang rroun rrowe rruco rsals rsion rstly rtebr rther rtica rticu rucos sacru scher schiu scien scles scrib scula secre seein seems seque shape sides sidfi simil sists sitio sivel skele small smoot socie somew sopte soria speci spine spose squea ssori stanc stead steri stick sting stion stoma stoti studi style suall subst suppo surpr surro swere synos tance taneo tarsa tatar tebra tendi tends teral teran teres terio termi their there thert these thigh thing third thoug throa thymu tibio tical ticks ticky ticul tinuo tions tissu tomat total totic treme tribu tside ttern tuall tuate tudie turns tween typic ually uarte uated ubsta ucosu udied ueaki uence uesti ularl ulatu umeru under undin undne unusu uppos uring urost urpri urrou urrow urthe uscle uscul usion usive usual utane utsid velop verru verse versi verte verti vicep viden video villi wered which white whole xclus xempl xious xtend xtrem ygold ymeno ynost ypica ystom zoolo 622/60466176 (622/11881376)

6: abdome abdomi accent action actual ainfro ajorit allowi almost alogou amilia amplex analog anatom andula aneous angeme animal answer appare appear arentl argely argest arkive arksch around arrang arsals articu atarsa ateral athert ations attern bdomen bdomin beddar behind betwee beyond biofib bodies boylou brevic bstanc burrow cavity ccentu ceedin centua ceptid cially cience cloaca clusio clusiv coccyx compri connec conseq consis contai contin contri cribed ctions ctuall cularl culatu cutane denboy deposi descri dfishe dispos domina dorsal during eaking ebrate eciall ecrete ection eddard edings edispo eeding either elativ eletal eleton eloped emoral emplif enboyl ending engyst enhnac enopte enormo ention entuat envelo eposit equenc eresti ermite erruco ersion ertebr ertica escrib especi esting estion estyle etatar etween everse evicep eviden exclus exempl extend extrem famili female femora femurs festyl fibula firstl fishes format fossor fracti furthe gement girdle glands glandu golden gonads groups gystom hearts herton himsel hnacin humeru hymeno ibiofi ically icepti icular idence idfish ifesty ilarly illier images imilar imself inalis inclus indeed infrog insect inside instea intere inuous iofibu irstly ischiu isopte ispose jority keleta keleto kscher landul largel larges latera lative lature ldenbo length letons lifest lified little llowin logica logous london lowing lusion lusive majori marksc mation menopt mentio metata mewhat milarl miliar minali mplexu mplifi mprise muscle muscul mygold nacing nalogo natomy nboylo nclusi ndness ndular nectio neithe nfrogs ngemen ngysto nhnaci nnecti nopter normou nostot noxiou nseque nsists nstead nswere nteres ntinuo ntribu ntuate nusual nvelop obably oceedi ociety ofibul ogical oldenb ologic omatid omewha ominal ompris onnect onsequ onsist ontain ontinu ontrib oologi operly optera ormati ormous ositio ossori osteri ostoti ostyle otical ounder oundin oundne outsid oxious parent partic patter pecial pelvic plexus plifie points positi posits poster pparen ppears predis probab procee proper pteran quarte queaki quence questi ractio rainfr rangem rather really rectus redisp region relati remely rently restin revers revice ribute rksche rmatio rmites robabl roceed roperl rostyl rounde roundi roundn rowers rprise rrange rround rrower rrucos rtebra rtical rticul rucosu sacrum scherz schium scienc scribe scular sculat secret seeing sequen shaped sidfis simila sition sively skelet smooth societ somewh sopter sorial specia sposes squeak ssoria stance sterio sticks sticky stomat stotic studie sually substa suppos surpri surrou swered synost taneou tarsal tatars tebrat tendin terans terest terior termit therto though throat thymus tibiof ticall ticula tinuou tissue tomati totica tremel tribut tually tuated tudied typica uarter ubstan ucosus ueakin uestio ularly ulatur umerus unding undnes unusua uppose urosty urpris urroun urrowe urther uscles uscula usivel usuall utaneo utside velope velops verruc versed versio verteb vertic viceps vicept videnc videos villie xclusi xempli xtendi xtends xtreme ygolde ymenop ynosto ypical ystoma zoolog 446/2176782336 (446/308915776)

7: abdomen abdomin accentu actuall ainfrog ajority allowin alogous amiliar amplexu analogo anatomy andular angemen answere apparen appears arently arksche arrange articul atarsal atherto bdomina beddard between biofibu brevice bstance burrowe ccentua ceeding centuat clusion clusive compris connect consequ consist contain continu contrib ctually cularly culatur cutaneo denboyl deposit describ dfishes dispose dominal ecially ections edispos eedings elative eletons emplifi enboylo engysto enhnaci enopter enormou entuate envelop eposits equence erestin ermites errucos ertebra ertical escribe especia etatars eversed eviceps evicept evidenc exclusi exempli extendi extends extreme familia femoral festyle firstly formati fossori fractio further glandul goldenb gystoma himself hnacing humerus hymenop ibiofib iceptid icularl idfishe ifestyl imilarl inclusi infrogs instead interes iofibul ischium isopter isposes keletal keleton kscherz landula largely largest lateral ldenboy lifesty llowing logical lusivel majorit marksch mations menopte mention metatar milarly minalis mplexus mplifie muscles muscula mygolde nalogou nboylou nclusio nection neither ngement ngystom nhnacin nnectio noptera normous nostoti noxious nsequen nswered nterest ntinuou ntribut ntuated nusuall nvelope nvelops oceedin ofibula oldenbo ologica omewhat ominali omprise onnecti onseque onsists ontinuo ontribu oologic opteran ormatio osition ossoria osterio ostotic oticall ounding oundnes outside parentl particu pattern peciall plified positio posteri pparent predisp probabl proceed properl pterans quarter queakin questio raction rainfro rangeme redispo relativ resting reverse revicep rkscher rmation robably roceedi roperly rostyle rounder roundin roundne rrangem rroundi rrowers rrucosu rtebrat rticula rucosus science scribed sculatu secrete sequenc sidfish similar skeleta skeleto society somewha soptera special squeaki ssorial sterior stomati stotica studied substan suppose surpris surroun synosto taneous tarsals tatarsa tebrate tending teresti termite therton tibiofi tically ticular tinuous tomatid totical tremely tribute typical ubstanc ueaking uestion ulature undness unusual urostyl urprise urround urrower uscular usculat usively usually utaneou veloped verruco version vertebr vertica vicepti vidence villier xclusiv xemplif xtendin xtremel ygolden ymenopt ynostot ystomat zoologi 297/78364164096 (297/8031810176)

8: abdomina accentua actually ainfrogs allowing amplexus analogou angement answered apparent arkscher arrangem articula atarsals atherton bdominal biofibul brevicep burrower ccentuat ceedings centuate clusivel comprise connecti conseque consists continuo contribu culature cutaneou denboylo deposits describe disposes dominali edispose emplifie enboylou engystom enhnacin enoptera enormous entuated envelope envelops eresting errucosu ertebrat escribed especial etatarsa evicepti evidence exclusiv exemplif extendin extremel familiar formatio fossoria fraction glandula goldenbo gystomat hymenopt ibiofibu icularly idfishes ifestyle imilarly inclusio interest iofibula isoptera keletons landular ldenboyl lifestyl lusively majority marksche menopter metatars mplified muscular musculat mygolden nalogous nclusion nections ngystoma nhnacing nnection nopteran nostotic nsequenc nteresti ntinuous ntribute nusually nveloped oceeding oldenboy ological ominalis onnectio onsequen ontinuou ontribut oologica opterans ormation ossorial osterior ostotica otically oundness parently particul pecially position posterio pparentl predispo probably proceedi properly queaking question rainfrog rangemen redispos relative reversed reviceps revicept rkscherz rmations roceedin rounding roundnes rrangeme rroundin rrucosus rtebrate rticular sculatur sequence sidfishe similarl skeletal skeleton somewhat sopteran speciall squeakin stomatid stotical substanc surprise surround synostot tatarsal terestin termites tibiofib ticularl toticall ubstance unusuall urostyle urroundi urrowers usculatu utaneous verrucos vertebra vertical viceptid xclusive xemplifi xtending xtremely ygoldenb ymenopte ynostoti ystomati zoologic 189/2821109907456 (189/208827064576)

9: abdominal accentuat analogous apparentl arkscherz arrangeme articular bdominali biofibula breviceps brevicept burrowers ccentuate centuated clusively connectio consequen continuou contribut cutaneous denboylou described dominalis edisposes emplified engystoma enhnacing enopteran enveloped errucosus ertebrate especiall etatarsal eviceptid exclusive exemplifi extending extremely formation fossorial glandular goldenboy gystomati hymenopte ibiofibul inclusion interesti isopteran ldenboylo lifestyle markscher menoptera metatarsa musculatu mygoldenb ngystomat nnections nopterans nostotica nsequence nterestin oceedings oldenboyl onnection onsequenc ontinuous ontribute oological ormations ostotical particula posterior pparently predispos proceedin rainfrogs rangement redispose revicepti roceeding roundness rrangemen rrounding rticularl sculature sidfishes similarly skeletons sopterans specially squeaking stoticall substance surroundi synostoti tatarsals teresting tibiofibu ticularly totically unusually urroundin usculatur verrucosu vertebrat xclusivel xemplifie ygoldenbo ymenopter ynostotic ystomatid zoologica 112/101559956668416 (112/5429503678976)

10: abdominali accentuate apparently arrangemen articularl bdominalis brevicepti ccentuated connection consequenc continuous contribute engystomat enopterans especially etatarsals exclusivel exemplifie formations goldenboyl gystomatid hymenopter ibiofibula interestin isopterans ldenboylou markscherz menopteran metatarsal musculatur mygoldenbo ngystomati nostotical nteresting oldenboylo onnections onsequence ostoticall particular predispose proceeding redisposes reviceptid roceedings rrangement rticularly stotically surroundin synostotic tibiofibul urrounding usculature verrucosus vertebrate xclusively xemplified ygoldenboy ymenoptera ynostotica zoological 60/3656158440062976 (60/141167095653376)

11: abdominalis accentuated arrangement articularly breviceptid connections consequence engystomati exclusively exemplified goldenboylo hymenoptera interesting menopterans metatarsals musculature mygoldenboy ngystomatid nostoticall oldenboylou ostotically particularl predisposes proceedings surrounding synostotica tibiofibula ygoldenboyl ymenopteran ynostotical 30/131621703842267136 (30/3670344486987776)

12: engystomatid goldenboylou hymenopteran mygoldenboyl nostotically particularly synostotical ygoldenboylo ymenopterans ynostoticall 10/4738381338321616896 (10/95428956661682176)

13: hymenopterans mygoldenboylo synostoticall ygoldenboylou ynostotically 5/170581728179578208256 (5/2481152873203736576)

14: mygoldenboylou synostotically 2/6140942214464815497216 (2/64509974703297150976)

Why are rain frogs so round? What's /inside/ of them around such an itty bitty skeleton?

So it turns out this is a really interesting question.

The first thing we must be aware of is that rainfrogs as we see them in videos of them squeaking are not quite the same shape as they are when at rest:

[x]

But you are quite right, they are very round. This is exemplified by the skeletal photo you refer to:

[X]

So what are we seeing?

Well, firstly, note that the body cavity in these frogs actually envelops the femurs, such that only the tibiofibula (fused in frogs) and the tarsals and metatarsals are outside the body. The arms are quite similarly enveloped, but a bit of the humerus does extend outside the body cavity too. This predisposes them to a rounder body shape.

Next, note the ilia - the U-shaped bone in the pelvic region. These in some breviceptid frogs are synostotically fused with the sacrum - that is to say, they are bound by bone-based connections to the bow-shaped vertebra at their tips. This whole joint seems to be quite smooth, and as a consequence, the back of the frog is quite smooth. The other thing we can see here is that the urostyle (i.e. the frog version of a coccyx) juts quite far beyond the ischium and pubis. This extends the body cavity beyond the hips. Note also that the pelvic girdle seems to be largely below the spine, rather than the typical position for frogs behind it and continuous with it. This makes the legs sit below the spine, rather than at its end, enhnacing the vertical roundness of the animal.

Next, let’s talk some soft tissue. Now, I’m not as familiar with soft-tissue in frogs as I am their skeletons, so you’ll have to bear with me a bit (rawr). Beddard (1908!!) studied the soft tissue of Breviceps verrucosus Rapp 1842. It seems that the majority of the body of these frogs is actually muscle. Beddard noted that muscles join the leg at the knee that extend into the body cavity, such that the inclusion of the thigh in the body cavity is further accentuated by musculature. The rectus abdominalis muscle is unusually large, extending from the lower abdomen up and around the sides of the body. Indeed, this large size appears to be the pattern with all of the major muscles, though in the throat the typical arrangement of large and small muscles is somewhat reversed. On the lateral side of the head, there is a substance that is not muscle, but appears to be loose tissue in which sits what is apparently the thymus gland.

There is a very large gap between the end of the urostyle and the anus (one fifth of the total length of the frog), in which there are almost no muscles, save for the one surrounding the lower cloaca. On either side of this area, between the posterior-most muscles of the thigh, lie two large ‘lymph-hearts’, as described by Beddard. These are between one quarter and one third of the total length of the frog. A further lypmh-sac sits between these lymph-hearts and the skin of the femoral region, and they are thus probably analogous to the femoral lymph-sacs of other frogs.

I find it interesting that Beddard (1908) did not mention any glandular formations in the dorsal region. As is evidence from many images (see below), these frogs are able to secrete a white, sticky, noxious substance from their skin (which they actually have to use during amplexus, as the male is too small relative to the female to mount her properly, and so he sticks himself to her with his glandular glue… kinky).

[x]

These glands do not apparently take up a great deal of the cutaneous tissue, and so I suppose are of no consequence to the size of the frog, especially relative to its enormous muscles.

The diet of these frogs consists almost exclusively of hymenopterans and isopterans (ants and termites). Neither of these insect groups are particularly fatty, so it is little surprise that their bodies appear to contain no large fat deposits - fatty bodies extend from the gonads up to the lungs and heart, but these comprise only a tiny fraction of the frog’s mass, and don’t contribute to the round shape. Instead, their bodies are extremely muscular, allowing them to be adept burrowers, ideal for their fossorial lifestyle.

So TL;DR: rain frogs are little balls of muscle (maybe the largest muscle mass relative to body mass of any vertebrate? science just doesn’t know).

Ref:

Beddard, F.E. 1908. On the Musculature and other Points in the Anatomy of the Engystomatid Frog, Breviceps verrucosus. Proceedings of the Zoological Society of London, 1908:11-41 [x]

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