"Barefoot Hugo Hamilton (gone, gone, are we gone)"
“Barefoot Hugo Hamilton (gone, gone, are we gone)”
[demo of original, on baritone ukulele]
Within a brief window of time, 3 people died – one I knew, one I knew of, one who didn’t know me – yet, in my meditations, realized I could draw a gossamer line between the three. And somehow I kept coming back to these tenuous but verifiable connections.
Please, watch till the end (and remix as…
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Hugo Pratt's Corto Maltese graphic novels is getting a live-action series adaptation via Studiocanal and Frank Miller
Hugo Pratt's Corto Maltese graphic novels is getting a live-action series adaptation via Studiocanal and Frank Miller #comics #comicbooks #cortomaltese
Frank Miller ascendant? The week after the launch of the first two new series from his comic imprint Frank Miller Presents, news comes that Miller will be the creator, writer, and executive producer for a live-action adaptation of Hugo Pratt‘s Corto Maltese graphic novel series. In conjuction with Canal+, Studiocanal will develop six hourlong episodes.
Miller will be joined by Jemma Rodgers as…
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even if TEMPEST ~Tyril’s - Good Ending~
This is a walkthrough/guide on how to get Tyril I Lister’s “Good” Ending. (You only get the Happy Ending after finishing Lucien’s route)
❈ The “SAVE” in this guide corresponds to the “LOAD” in the Sad Love Ending guide, which can be found HERE.
❈ Also, in the beginning, you can only play either Crius’ or Tyril’s route.
❈ Be mindful of the fact that after you’ve finished the “good” ending for a bachelor, the game will immediately force you into the next route.
The recommended/forced route order is: Crius ➔ Tyril ➔ Zenn ➔ Lucien ➔ Secret Route
PROLOGUE
Overture for a Pitiable Girl
(No Choices)
A Cruel Fate’s Single Ray of Light
(There will be timed choices, they have a “star” infront of them)
*Rebut
*Rebut
*Indict
*Indict
*Rebut
*Indict
A ghost.
Two Extremes of Hope and Despair
Ignore him.
Turn him down.
Apologize.
🀧Tarot Card Selection: JUSTICE
TYRIL'S ROUTE
Withering Flower I
“Allow me to investigate.”
“No.”
“Please tell me.”
“He had no other choice.”
“To remove his organs.”
Affection.
🔍INVESTIGATION START:
Never mind a sermon! The Cardinal’s impassioned appeal to art. (Cardinal Rick Monaghan)
Start This Investigation
A Youthful Noble’s Cry og Love (Crius Castlerock)
Start This Investigation
Those Who Loved Prince Lucien (Sammy Tippett)
Start This Investigation
The King’s Shocking Proclamation! “Did you kill Lucien?” (Prince Conrad)
Start This Investigation
The sleeping magic.
End Investigation
🔍INVESTIGATION END
Tactics.
“Why was Sammy punished?”
Withering Flower II
⚖️TRIAL START:
The witness.
Crius
The circumstances of the murder.
Make them debate it.
The witch’s sleeping magic.
The Cardinal Loves Art
Hugo
Hugo Article
Witness Account
SAVE
“…”
Provide a new discussion topic.
The culprit’s state of mind.
Relationship with the victim.
What everyone did this morning.
Monaghan
Continue the conversation
Orphanage Theft
Help him.
⚖️TRIAL END
Choose Tyril.
Withering Flower III
Stop them.
Don’t tell him.
Withering Flower IV
Ishik clan.
“Yes”.
➔ “Good” Ending: Aria of the Mistletoe (Route Cleared)
”Final chapter”/Happy Ending is unlocked after completing Lucien’s route. All you need to do is:
Load the CLEAR SAVE (chart) ➔ Choose Tyril ➔ Blooming from Frozen Grounds
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“We don’t need to know what starfish know.” Compilation about “plant intelligence”; multispecies relationships; interspecies cooperation despite “alieness”.
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Scientists are very eager to say that we oughtn’t to personify elements in nature for fear of anthropomorphizing. And what I mean when I talk about the personhood of all beings, plants included, is not that I am attributing human characteristics to them, not at all. I’m attributing plant characteristics to plants.
(Robin Wall Kimmerer, interviewed by Krista Tippett. “The Intelligence in All Kinds of Life.” On Being. February 2016.)
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We can now turn to abundant evidence that nonhuman creatures matter politically, ethically, and that they pulse with world-making vitality. [...] Studies of microbes have charted the importance of alienness and difference in processes of becoming. Helmreich’s study of microbial oceanography suggests that “the lowly microbe constitutes a force of leviathan significance” for life, but also witnesses the sense of alterity that this vast cosmos of microorganisms in the sea evokes in humans. […]. Taken together, such studies shift agency away from the bounded figure of the human and underline the indifference of the many inhuman forced folded within us. Attending to microbial life also points us to animal others that […] we do not (like to) see or touch. […] We are more intimately familiar with them than we like, but at the same time they remain alien to us, catching us in what Hugh Raffles describes as the “nightmare of knowing and the nightmare of nonrecognition.” This opens up space for friction, conflict, and misrecognition within togetherness […]. For every meeting between creatures involves an irreducible strangeness, and something singular, irreducible and vast behind each relation. […] There is a distance between beings when they meet, a multitude of life beyond sense and matter, and flourishing and togetherness emerge from this “virtual ecology.”
(Maan Barua, Uli Beisel, Franklin Ginn. “Flourishing with Awkward Creatures: Togetherness, Vulnerability, Killing.” 2014.)
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In their time, siedi stones were recognized as powerful entities – capable not just of transacting with humans but of forming bonds and entering relations, [...] Johan Turi, the Sami scribe, noted that there are several types of siedi [...]. Nils Oskal, a reindeer herder and philosopher, draws a relevant distincction between siedi worship and common politeness: “Common courtesy indicates that you should greet it and wish it well in your thoughts when passing by. […]“ Accounts of everyday interactions thus parse the siedi less as “supernatural” entities than as a kind of nonhuman neighbor: geological beings, enmeshed in the same networks of transit, contact, interaction, and exchange as humans – networks of relation that constitute the tundra itself as a more-than-human polity, a shared or convivial space defined by an ethos of pragmatic coexistence. A few years ago, during a car ride across the tundra, Oskal summarized this ethos to me as a kind of cosmopolitical imperative […]: an obligation to “extend politeness to all beings that cross your path,” whether they be wolf, plant, reindeer, human, or stone. [...] What are the harms that register as significant, and to whom? […] This work of imagination – of extending the mesh […] – extends beyond a synchronic focus on species interdependence: activists speak of accountabilities to the dead and to unborn generations, to the sea, to life, to Earth itself. […]
(Hugo Reinert. “About a Stone - Some Notes on Geologic Conviviality.” 2016.)
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Ada Smailbegović talks of starfish time (2015). Starfish may seem to be still, but longer attention, through time-lapse photography for example, shows them moving, changing. Smailbegović also talks of larval time, the time it takes for eggs to develop and hatch, a time that is a compound entity of other variables, longer in the cold, or sped up with increasing temperature. Larval time is the right time for eggs to hatch, a deeply relational and contingent time. As she points out, “many of the temporalities that are relevant for developing a politics of time in the Anthropocene – such as minute and incrementally accumulating processes of change, or the long duration of geological time, rock time, or the temporal rhythms of non-human organisms – are beyond the human sensorium” (2015: 97). [...] For by attending to more-than-human agencies of time and weather, diverse multiplicities emerge even as they are beyond human understanding. This is the seasonal time of clouds gathering. It is also the time of hydrological cycles, of water moving through aquifers for thousands of years, of transpiration and growth. And short spirals, of the flash of lightning, claps of thunder, of traveling sound and light.
Then there are beings that experience hundreds, thousands of generations within a human lifetime. For such beings, the memories, learnings and modes of passing on experience are, it almost goes without saying (yet it must be said as it is so often not), radically different from any human’s in terms of the ways they experience change. The immensity of the alterity is, literally, incomprehensible to humans.
We can’t know how and what these beings know.
But we can be aware that they have knowledges and experiences beyond us. For many people, coming from different cultural and ontological positions, not knowing does not mean not connecting or not respecting. For it would seem that there are things that humans cannot and should not know.
We don’t need to know what starfish know.
But we should know they live and experience and think beyond us. We should seek respect and be aware of how our lives are entangled [...]. It is not abstract, or empty.
(Bawaka Country including, S. Wright, S. Suchet-Pearson, K. Lloyd, L. Burarrwanga, R. Ganambarr, M. Ganambarr-Stubbs, B. Ganambarr, D. Maymuru. “Gathering of the Clouds: Attending to Indigenous understandings of time and climate through songspirals.” Geoforum. January 2020.)
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MBTI Typing Index: INFJ
Other types: INFP INFJ ENFP ENFJ INTP INTJ ENTP ENTJ ISTJ ISFJ ESTJ ESFJ ISTP ISFP ESTP ESFP
Darren ARONOFSKY
Marcus AURELIUS
Bruce BALDEN
René BARJAVEL
Zal BATMANGLIJ
Michel BERGER
Ingmar BERGMAN
Ingrid BETANCOURT
Joep BEVING
Andrew BIRD
Gabriel BYRNE
Hélène CIXOUS
Glenn CLOSE
Paulo COEHLO
Leonard COHEN
Lily COLE
Paul DANO
Daniel DAY-LEWIS
Alain DE BOTTON
Alexandre DESPLAT
Jennifer EHLE
Ólafur ELÍASSON
Brian ENO
Vera FARMIGA
Leslie FEIST
Colin FIRTH
Jonathan Safran FOER
Cary FUKUNAGA
Malcolm GLADWELL
Louise GLUCK
Jean-Jacques GOLDMAN
Orna GURALNIK
Sofia HELIN
Andrew HOZIER Byrne
Victor HUGO
Nicholas HUMPHREY
Siri HUSTVEDT
Pablo IGLESIAS
Kazuo ISHIGURO
Jony IVE
Phil JACKSON
Carl G. JUNG
William KENTRIDGE
Deeyah KHAN
Jewel KILCHER
Nicole KRAUSS
Jhumpa LAHIRI
George LAKOFF
Pablo LARRAIN
Maxime LE FORESTIER
Clive S. LEWIS
Kenneth LONERGAN
David LOWERY
George LUCAS
Terrence MALICK
Brit MARLING
Laura MARLING
Yann MARTELL
Gabor MATÉ
Humberto MATURANA
Wentworth MILLER
Anthony MINGHELLA
Steven MORRISSEY
Viggo MORTENSEN
Carrie-Ann MOSS
Carey MULLIGAN
Ruth NEGGA
Maggie NELSON
Friedrich NIETZSCHE
Jenny ODELL
David OLUSOGA
Megan PHELPS-ROPER
Adam PHILLIPS
Sarah POLLEY
Maria POPOVA
Philip PULLMAN
Charlotte RAMPLING
Tim RICE-OXLEY
Robert REDFORD
Vanessa REDGRAVE
Sally ROONEY
Eric ROTH
Joanne K. ROWLING
Arundhati ROY
Sebastião SALGADO
Daniel SIEGEL
David SIMON
Leïla SLIMANI
Zadie SMITH
St Vincent / Annie CLARK
Sufjan STEVENS
Donna TARTT
Krista TIPPETT
Francisco VARELA
Alan WATTS
Wim WENDERS
Weyes Blood / Natalie MERING
Elie WIESEL
Thomas Chatterton WILLIAMS
Robin WRIGHT
Hanya YANAGIHARA
Other types: INFP INFJ ENFP ENFJ INTP INTJ ENTP ENTJ ISTJ ISFJ ESTJ ESFJ ISTP ISFP ESTP ESFP
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Dragonslayer
Dragonslayer is a 1981 American fantasy film directed by Matthew Robbins, from a screenplay he co-wrote with Hal Barwood.
It stars Peter MacNicol, Ralph Richardson, John Hallam and Caitlin Clarke. Paramount Pictures handled North American distribution, while Buena Vista International handled international distribution.
The story, set in a fictional medieval kingdom, follows a young wizard who experiences danger and opposition as he attempts to defeat a dragon.
A co-production between Paramount Pictures and Walt Disney Productions, Dragonslayer was more mature than most other Disney films of the period. Because of audience expectations for a more family-friendly film from Disney, the film's violence, adult themes and brief nudity were somewhat controversial at the time, even though Disney did not hold US distribution rights, which were held by Paramount. The film was rated PG in the U.S.; TV showings after 1997 have carried a TV-14 rating. It's possible that this film was responsible for Disney's later creation Touchstone Pictures to produce more mature fare, starting with 1984's Splash.
The special effects were created at Industrial Light and Magic, where Phil Tippett had co-developed an animation technique called go motion for The Empire Strikes Back (1980).
Go motion is a variation on stop motion animation, and its use in Dragonslayer led to the film's nomination for the Academy Award for Visual Effects; it lost to Raiders of the Lost Ark, the only other Visual Effects nominee that year, whose special effects were also provided by ILM. Including the hydraulic 40-foot (12 m) model, 16 dragon puppets were used for the role of Vermithrax, each one made for different movements; flying, crawling, fire breathing etc.
Dragonslayer also marks the first time ILM's services were used for a film other than a Lucasfilm Ltd. production.
The film was nominated for the Academy Award for Original Music Score; Chariots of Fire took the award. It was also nominated for a Hugo Award for Best Dramatic Presentation, once again losing to Raiders of the Lost Ark. In October 2003, Dragonslayer was released on DVD in the U.S. by Paramount Home Video.
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No one likes to arrive too early at a party. There’s no one to talk to and nowhere to hide. You can’t leave without being conspicuously rude. In due course you find yourself talking about car insurance (or worse still, Brexit) with other new arrivals. Of course, there’s the decor to look at (paintings you don’t much like) and there’s the buffet, tempting but as yet untouchable.
As hosts, though, we’re always grateful to those who arrive early and get things going.
New social networks have a hard time too. What’s the point of joining if no one’s there?
In gigglemusic, our new social network for classical musicians, we try to solve that problem by offering new users content that doesn’t depend on the community being large. We’ve uploaded the schedules of major classical music venues around the world (for the moment mainly opera houses).
We’ve also entered the ‘diaries’ of the world’s greatest composers – well, the greatest composers writing within the Western tradition or having some significant influence on it. By their diaries I mean their dates and places of birth and death (though many are still alive and kicking) and the dates and places of the first performances of their major works. Almost all of this comes from Wikipedia.
It may be a bit like trainspotting, but I, for one, find it mildly interesting to know where this or that masterpiece was first performed, and when.
To review a composer’s diary, start with People, open a profile, tap Diary and then scroll up to go back in time. Tap on an individual work to find out more. There’s usually a Wikipedia article to link to.
But who are the world’s greatest composers?
There’s no ideology behind the selection I’ve made, and no conscious exclusions (I’ve even included Carl Orff). They’re just the first 292 composers who came to mind, and for whom there was also a Wikipedia entry. I’m sure the assiduous researcher will detect unconscious bias, but if you do, please tell me who I’ve missed. There’s room for nearly everyone in gigglemusic.
Adam (Adolphe) Adams (John) Adès (Thomas) Albeniz (Isaac) Albinoni (Tomaso) Alwyn (William) Arne (Thomas) Arnold (Malcolm) Auric (Georges) Bach (Carl Philipp Emanuel) Bach (Johann Sebastian) Balakirev (Mily) Barber (Samuel) Bartok (Bela) Bax (Arnold) Beach (Amy) Beamish (Sally) Beethoven (Ludwig van) Bellini (Vincenzo) Bennett (Richard Rodney) Berg (Alban) Berio (Luciano) Berkeley (Lennox) Berkeley (Michael) Berlioz (Hector) Berners (Gerald (Lord)) Bernstein (Leonard) Berwald (Franz) Birtwistle (Harrison) Bizet (Georges) Bliss (Arthur) Blitzstein (Marc) Bloch (Ernst) Blow (John) Bologne (Joseph) Borodin (Alexander) Boulanger (Lili) Boulanger (Nadia) Boulez (Pierre) Bowen (York) Bozza (Eugene) Brahms (Johannes) Brian (Havergal) Bridgetower (George) Britten (Benjamin) Bruch (Max) Bruckner (Anton) Bush (Alan) Busoni (Ferrucio) Butterworth (George) Buxtehude (Dietrich) Cage (John) Canteloube (Joseph) Carter (Elliot) Chabrier (Emmanuel) Chagrin (Francis) Chaminade (Cécile) Charpentier (Gustave) Chausson (Ernest) Cherubini (Luigi) Chopin (Frédéric) Cilea (Francesco) Cimarosa (Domenico) Clarke (Rebecca) Clementi (Muzio) Coleridge-Taylor (Samuel) Copland (Aaron) Corelli (Arcangelo) Cornelius (Peter) Couperin (Francois) Cui (César) Czerny (Carl) Dallapiccola (Luigi) Debussy (Claude) Delibes (Léo) Delius (Frederick) Dittersdorf (Carl Ditters von) Dohnányi (Ernst von) Donizetti (Gaetano) Dorati (Antal) Dukas (Paul) Duruflé (Maurice) Dutilleux (Henri) Dvorak (Antonin) Einem (Gottfried von) Eisler (Hans) Elgar (Edward) Ellington (Duke) Enescu (George) Erkel (Ferenc) Falla (Manuel de) Fauré (Gabriel) Feldman (Morton) Ferguson (Howard) Ferneyhough (Brian) Field (John) Finzi (Gerald) Francaix (Jean) Franck (César) Gabrieli (Giovanni) Gershwin (George) Ginastera (Alberto) Giordano (Umberto) Glass (Philip) Glazunov (Alexander) Glière (Reinhold) Glinka (Mikhail) Gluck (Christoph Willibald) Górecki (Henryk) Gounod (Charles) Grainger (Percy) Granados (Enrique) Grieg (Edvard) Grovlez (Gabriel) Gubaidulina (Sofia) Gurney (Ivor) Haas (Pavel) Handel (George Frideric) Harty (Hamilton) Haydn (Joseph) Head (Michael) Hindemith (Paul) Hoddinott (Alun) Holliger (Heinz) Holst (Gustav) Honegger (Arthur) Howells (Herbert) Hummel (Johann Nepomuk) Humperdinck (Engelbert) Ibert (Jacques) Indy (Vincent d’) Ireland (John) Ives (Charles) Jacob (Gordon) Janacek (Leos) Jolivet (André ) Joplin (Scott) Kalivoda (Jan) Kálmán (Emmerich) Khachaturian (Aram) Knussen (Oliver) Kodaly (Zoltan) Koechlin (Charles) Korngold (Erich) Krenek (Ernst) Krommer (Franz) Kurtág (György) Lalo (Édouard) Lang (David) Lauridsen (Morten) Leclair (Jean-Marie) Lehár (Franz) Leifs (Jón) Leigh (Walter) Leoncavallo (Ruggero) Ligeti (Gyorgy) Liszt (Franz) Loeillet (Jean Baptiste) Lyadov (Anatoly) Mahler (Alma) Mahler (Gustav) Marcello (Alessandro) Martin (Frank) Martinu (Bohuslav) Mascagni (Pietro) Massenet (Jules) Maxwell Davies (Peter) Medtner (Nikolai) Mendelssohn (Felix) Menotti (Gian Carlo) Messiaen (Olivier) Meyerbeer (Giacomo) Milhaud (Darius) Moeran (Ernest) Monteverdi (Claudio) Morricone (Ennio) Moyzes (Alexander) Mozart (Wolfgang Amadeus) Mussorgsky (Modest) Nancarrow (Conlon) Nielsen (Carl) Nono (Luigi) Nyman (Michael) Offenbach (Jacques) Orff (Carl) Pachelbel (Johann) Paderewski (Ignacy Jan) Paganini (Niccolò) Paisiello (Giovanni) Palestrina (Giovanni Pierluigi da) Panufnik (Andrzej) Parry (Hubert) Pärt (Arvo) Pasculli (Antonio) Penderecki (Krzysztof) Pepusch (Johann Christoph) Pergolesi (Giovanni) Piazzola (Astor) Poulenc (Francis) Previn (André) Price (Florence) Prokofiev (Sergei) Puccini (Giacomo) Purcell (Henry) Quantz (Johann Joachim) Quilter (Roger) Rachmaninoff (Sergei) Raff (Joachim) Rameau (Jean-Philippe) Ravel (Maurice) Reger (Max) Reich (Steve) Reinecke (Carl) Reizenstein (Franz) Respighi (Ottorino) Richardson (Alan) Riley (Terry) Rimsky-Korsakov (Nikolai) Rodrigo (Joaquín) Rossini (Giacomo) Rota (Nino) Rubbra (Edmund) Saint-Saëns (Camille) Salieri (Antonio) Sammartini (Giovanni Battista) Satie (Erik) Scarlatti (Domenico) Schnittke (Alfred) Schoeck (Othmar) Schoenberg (Arnold) Schubert (Franz) Schumann (Clara) Schumann (Robert) Scriabin (Alexander) Sessions (Roger) Shostakovich (Dmitri) Sibelius (Jean) Sinding (Christian) Skalkottas (Nikos) Smetana (Bedrich) Smyth (Ethel) Sondheim (Stephen) Sorabji (Kaikhosru Shapurji) Spohr (Louis) Stanford (Charles Villiers) Stenhammar (Wilhelm) Still (William Grant) Stockhausen (Karlheinz) Strauss (Johann) I Strauss (Johann) II Strauss (Richard) Stravinsky (Igor) Suk (Josef) Sullivan (Arthur) Sweelinck (Jan Pieterszoon) Szymanowski (Karol) Tailleferre (Germaine) Takemitsu (Toru) Tallis (Thomas) Tavener (John) Tchaikovsky (Pyotr) Tcherepnin (Alexander) Tcherepnin (Nikolai) Telemann (Georg Philipp) Thompson (Virgil) Tippett (Michael) Tubin (Edward) Turnage (Mark-Anthony) Varese (Edgard) Vaughan Williams (Ralph) Verdi (Giuseppe) Vierne (Louis) Villa-Lobos (Heitor) Vivaldi (Antonio) Wagner (Richard) Walker (George) Walton (William) Warlock (Peter) Weber (Carl Maria von) Webern (Anton) Weelkes (Thomas) Weill (Kurt) Weir (Judith) Widor (Charles-Marie) Williams (John) Williamson (Malcolm) Wolf (Hugo) Xenakis (Iannis) Ysaÿe (Eugène) Yun (Isang) Zelenka (Jan Dismas) Zemlinsky (Alexander von)
The Great Composers No one likes to arrive too early at a party. There's no one to talk to and nowhere to hide.
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Puljujarvi Jesse
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Rodrigues Evan
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Smith Reilly
Snuggerud Jimmy
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Tkachuk Matthew
Turcotte Alex
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Beaudin Nicolas
Behrens Sean
Bouchard Evan
Buium Shai
Byram Bowen
Doughty Drew
Edler Alex
Faulk Justin
Goligoski Alex
Guhle Kaiden
Johnson Brent
Johnson Erik
Korchinski Kevin
Kyrou Christian
Lindell Esa
Mailloux Logan
Makar Cale
Merkley Ryan
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Morrow Scott
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Alnefelt Hugo
Andersen Frederik
Annunen Justus
Brossoit Laurent
Clang Calle
Elliott Brian
Fleury Marc- Andre (D)
Francouz Pavel
Georgiev Alexandar
Grubauer Philip
Hart Carter
Kokko Niklas
Kuemper Darcy
Lindberg Filip
Martin Spencer
Miner Trent
Raanta Antti
Sogaard Mads
Talbot Cam
F
Alexandrov Nikita
Batherson Drake
Beaucage Alex
Benn Jamie
Bertuzzi Tyler
Bolduc Zachary
Bourgault Xavier
Bowers Shane
Brisson Brendan
Broz Tristan
Buchelnikov Dmtri
Bunting Michael
Burakovsky Andre
Bystedt Filip
Compher J.T.
Cooley Logan
Copp Andrew
Crosby Sidney
Denisenko Grigori
Drury Jack
Dube Dillon
Duchene Matt
Finley Jack
Foerster Tyson
Foudy Liam
Geekie Conor
Giroux Claude
Gourde Yanni
Henrique Adam
Hertl Tomas
Hischier Nico
Jenner Boone
Jost Tyson
Kadri Nazem
Kapanen Oliver
Karlsson William
Kaut Martin
Klimovich Danila
Kuznetsov Evgeny (D)
Kyrou Jordan
Landeskog Gabriel
Lorenz Rieger
MacKinnon Nathan
Malkin Evgeni (D)
Marchand Brad
Martino Ayrton
Mazur Carter
McMichael Connor
Neighbours Jake
Nelson Brock
Newhook Alex
Nichushkin Valeri
Niederbach Theodor
Nugent- Hopkins Ryan
Ohgren Liam
Olausson Oskar
O’Connor Logan
O'Reilly Ryan
Pavelski Joe (D)
Pelletier Jakob
Perron David
Pinto Shane
Poulin Samuel
Puljujarvi Jesse
Raddysh Taylor
Ranta Sampo
Rantanen Mikko
Rodrigues Evan
Roslovic Jack
Schenn Brayden
Schmaltz Nick
Smith Reilly
Snuggerud Jimmy
Stillman Chase (D)
Suzuki Nick
Tippett Owen
Tkachuk Matthew
Turcotte Alex
Van Riemsdyk James
Vrana Jacub
Zacha Pavel
D
Addison Calen
Alexeyev Alexander
Andersson Rasmus
Barrie Tyson
Beaudin Nicolas
Behrens Sean
Bouchard Evan
Buium Shai
Byram Bowen
Doughty Drew
Edler Alex
Faulk Justin
Goligoski Alex
Guhle Kaiden
Johnson Brent
Johnson Erik
Korchinski Kevin
Kyrou Christian
Lindell Esa
Mailloux Logan
Makar Cale
Merkley Ryan
Montour Brandon
Morrow Scott
Nurse Darnell
Provorov Ivan
Sergachev Mikhail
Suter Ryan
Theodore Shea
Toews Devon
0 notes