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Luck2271 torrance boulevard no. 6 torrance ca 90501

p: 210.380.9547 e: hello@karenpedroza.com

w: http://www.karenpedroza.com

KAREN PEDROZAGRAPHIC/WEB DESIGNER

e22

More than half of all adults say they play the lottery, and more than a quarter regularly frequent casinos, according to a 1999 National Opin-ion Research Center study. Each year Americans lose more than $50 billion on legal wagering in casinos and bingo halls, on lotteries, and at racetracks. They spend an additional unknown amount in private settings, such as poker games, and through illegal channels, such as bookies. “Judging by dollars spent,” writes Timothy L. O’Brien in his book Bad Bet, “gambling is now more popular in America than baseball, the mov-ies, and Disneyland—combined.”

This enthusiasm for gambling is as old as the nation itself. During the Revolutionary War, states sponsored lotteries to help finance their armies. Thomas Jefferson advocated state-sponsored gambling as a voluntary, rather than a coercive, tax. Lotteries became popular again after the Civil War, when southern states used them to finance Reconstruction projects. Lotteries were sanctioned because they raised funds for wor-thy causes; other forms of gambling remained illegal and socially unac-ceptable until the twentieth century.

Introduction

Americans love to gamble.

Many states started to permit betting on horse and dog races in the 1920s, and Nevada became the first state to legalize casino-style gambling in 1931. Every state had banned lotteries because of scandals in the 1880s involving embezzlement and fraud, but in 1964 New Hampshire, which has no income or sales tax, revived the lottery as a means of generating revenue. It was an enormous suc-cess, with the majority of tickets purchased by out-of-state residents. “In the next ten years,” writes economics professor Richard Mc- Gowan, “every northeastern state approved a lottery.” But, he reports, “the greatest growth of state lot-teries occurred between 1980 and 1990. Twenty-five states approved lotteries, offtrack betting, keno, and video poker machines.”

However, the 1990s may be remembered as the decade in which Americans truly embraced gambling. In 1993, for the first time in U.S. history, revenues from casino gambling were greater than those from state lotteries. According to McGowan, “this marked a turning point: Casino gambling became the preferred form of gambling in the United States. It also marked the acceptance of gambling as a legal source of entertainment.”

e 23

One reason for this was the enor-mous growth that Las Vegas expe-rienced in the early 1990s. Tourism jumped by 24 percent in this period, and by 1996 the city’s population was almost four times what it had been in 1980. This was in part because the gambling mecca had pursued a massive public relations campaign, downplaying its image as “Sin City” and instead marketing itself as a family-friendly vacation destination. Casinos such as the MGM Grand, for example, built roller coasters and theme parks in addition to slot machines and craps tables, and the $900 million Mirage casino-resort created an all-ages tropical theme park in the middle of the desert. Another factor in the city’s growth was the lure of slot machines, one of the most popular forms of gambling: In 1983, revenue from slot machines surpassed that of other games, such as blackjack or roulette, for the first time.

Another important development in the 1990s was the spread of Indian casinos. Many American Indian reservations are on lands that lack natural resources, and poverty and unemployment are exceptionally high among Native Americans.

In the 1980s many tribes looked to casino gambling as a means of generating both jobs and tribal rev-enues. In 1987 the Supreme Court ruled that tribes could operate legal forms of gambling on their lands free from state regulation and taxes. In response to criticism of the large amounts of untaxed, uncontrolled income, Congress passed the Indian Gaming Regulatory Act, which returned some power to states. The result has been a compromise, with tribes and state governments negotiating over whether a tribe may build a casino The result has been a compromise, with tribes and state governments negotiating over whether a tribe may build a casino and what types of games it may offer. Today there are more than 120 Indian casinos in 28 states. The most successful of these has been the Mashantucket Pequots’ Foxwoods Resort Casino in Connecticut, which is the world’s largest casino.

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A Buckeye nut

Maneki Neko (in Japan)

Omamori (in Japan)

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Finding a penny with head facing up Horseshoes Four-leaf clover A rabbit’s foot

Amanita muscaria mushroom (fly agaric) Ladybugs (Ladybirds)

The numerals seven, eight (in China), and nine (in Thailand) Knocking on wood

Crossing one’s fingers

Being born on Christmas Day Throwing rice at a bride and groom

A Buckeye nut Maneki Neko (in Japan) Omamori (in Japan) Winning the lottery Bamboo Eating black-eyed peas on New Year’s Day

Making an X on your windshield if a black cat walks by your car

q 109FRank SinatRa

› › Luck be a

LaDy (4:57)They call you lady luckBut there is room for doubt

At times you have a very un-lady-like way

Of running out

Your on this date with me

The pickins have been lush

And yet before the evening is over

You might give me the brush. You might forget your manners

You might refuse to stay

And so the best that I can do is pray

Luck be a lady tonight

Luck be a lady tonight

Luck if youve been a lady to begin with

Luck be a lady tonight

Lets keep this party polite

Never get out of my sight

Stick with me baby, Im the guy that you came in with

Luck be a lady tonight

A lady never flirts with strangers

Shed have a heart, shed be nice

A lady doesnt wander all over the room

And blow on some other guys dice

Luck let a gentleman see

Just how nice a dame you can be

I know the way youve treated other guys youve been with

Luck be a lady with me

A lady never leaves her escort

It isnt fair, it isnt nice

A lady doesnt wander all over the room.

Lets keep this party polite

Never get out of my sight

Stick with me baby, Im the guy that you came in with

Luck be a lady tonight

q10

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q 11eqrw

Luck - DeFinition oF

1

For as long as I can remember, I’ve been playing cards with my family and friends, and winning too. Cards have a special place in my heart and bring back memories of a wonderful childhood. Since I’ve become a graphic designer and have become so involved with symbols and logos, I can’t help but love the card suites’ symbols, Spades, Diamonds, Clubs, Hearts. I always try to incorporate these symbols into my work in any way I can, and since one of the words I could work on was Luck I found it perfect for associat-ing it with cards.

Luck also has a big association with gambling and superstition. I decided to take that fact and center my book around it. In this book you will find a variety of articles, lyrics, lists of symbols and associations related to gambling. Even though I’ve never gambled in my life, I know it’s important to other people and can be fun but also very dangerous if it becomes an addiction.

I think it’s also important for you to understand the process of this book. The folios will always be different on every page, as you will find the col-umn count will also be different on every page. Since luck has a big part to do with gambling and randomness also does as well, I decided to incorporate a randomness factor into this book through the folios and page columns.

I’ve really come to love this book and I hope you do as well with all of the meaning and associa-tions behind it. I hope you find a lot of useful information in here with some fun on the side.

Enjoy!

q18

This view incorporates phenomena that are chance happenings, a person’s place of birth for example, but where there is no uncertainty involved, or where the uncer-tainty is irrelevant. This is the view of luck as contingency. Within this framework one can differentiate between three different types of luck:

Constitutional luck, that is, luck with factors that cannot be changed. Place of birth and genetic constitution are typical examples.

Circumstantial luck, that is, luck with factors that are haphazardly brought on. Accidents and epidemics are typical examples.

Ignorant luck, that is, luck with factors one does not know about. Examples can be identified only in hindsight. Another explanation of luck could be given as when preparation meets destiny.

A rationalist approach to luck includes the application of the rules of probability, and an avoidance of unscientific beliefs. The rationalist feels the belief in luck is a result of poor reasoning or wishful thinking.

To a rationalist, a believer in luck commits the post hoc logical fallacy which argues that because something is sequentially con-nected it is connected otherwise as well:

A happens (luck-attracting event or action) and then B happens;Therefore, A caused B.

In this particular perspective, probability is only affected by confirmed causal connec-tions. A brick falling on a person walking below, therefore, is not a function of that person’s luck, but is instead the result of a collection of understood (or explainable) occurrences. Statistically, every person walking near the building was just as likely to have the brick fall on them.

The gambler’s fallacy and inverse gambler’s fallacy both explain some reasoning prob-lems in common beliefs in luck. They involve denying the unpredictability of random events: “I haven’t rolled a six all week, so I’ll definitely roll one tonight”.

Luck is merely an expression noting an extended period of noted outcomes, completely consistent with random walk probability theory. Wishing one “good luck” will not cause such an extended period, but it expresses positive feelings toward the one -- not necessarily wholly undesirable.

Luck refers to that which happens beyond a person’s control.

q 19

Luck as an essenceThere is also a series of spiritual, or super-natural beliefs regarding fortune. These beliefs vary widely from one to another, but most agree that luck can be influenced through spiritual means by performing certain rituals or by avoiding certain circumstances.

One such activity is prayer, a religious prac-tice in which this belief is particularly strong. Many cultures and religions worldwide place a strong emphasis on a person’s ability to influence their fortune by ritualistic means, sometimes involving sacrifice, omens or spells. Others associate luck with a strong sense of superstition, that is, a belief that certain taboo or blessed actions will influence how fortune favors them for the future.

Luck can also be a belief in an organization of fortunate and unfortunate events. Luck is a form of superstition which is interpreted differently by different individuals. Carl Jung described synchronicity: the “temporally personal gains.”

Luck as a placeboSome encourage the belief in luck as a false idea, but which may produce positive think-ing, and alter one’s responses for the better. Others, like Jean Paul Sartre and Sigmund Freud, feel a belief in luck has more to do with a locus of control for events in one’s life, and the subsequent escape from personal responsibility. According to this theory, one who ascribes their travails to “bad luck” will be found upon close examination to be living risky lifestyles. On the other hand, people who consider themselves “lucky” in having good health may be actually reaping the benefits of a cheerful outlook and satisfying social relationships, both of which are well known statistically to be protective against many stress-related diseases.

If “good” and “bad” events occur at random to everyone, believers in good luck will experience a net gain in their fortunes, and vice versa for believers in bad luck. This is clearly likely to be self-reinforcing. Thus, although untrue, a belief in good luck may actually be an adaptive meme.

NumerologyMost cultures consider some numbers to be lucky or unlucky. This is found to be particularly strong in Asian cultures, where the obtaining of “lucky” telephone numbers, automobile license plate numbers, and household addresses are actively sought, sometimes at great monetary expense. Numerology, as it relates to luck, is closer to an art than to a science, yet numerologists, astrologists or psychics may disagree. It is interrelated to astrology, and to some degree to parapsychology and spirituality and is based on converting virtually anything mate-rial into a pure number, using that number in an attempt to detect something meaningful about reality, and trying to predict or calculate the future based on lucky numbers. Numerology is folkloric by nature and started when humans first learned to count. Through human history it was, and still is, practiced by many cultures all over the world from traditional fortunetelling to on-line psychic reading.

Luck in scriptureThe bearing that Isaiah 65:11 has on beliefs concerning luck is a matter of controversy.The lot is cast into the lap, but its every decision is from the Lord (Proverbs 16:33 NIV)The lot is cast into the lap, but its every decision is from the Lord (Proverbs 16:33 NIV)

I have seen something else under the sun: The race is not to the swift or the battle to the strong, nor does food come to the wise or wealth to the brilliant or favor to the learned; but time and chance happen to them all. (Ecclesiastes 9:11 NIV)

w56

In Japan there are certain things one does not do because they are thought to cause bad luck. A few examples are:

w 57

The number four: The number four is considered inauspicious because it is pronounced the same as the word for death (shi). Therefore, one should not make presents that consist of four pieces, etc. In some hotels and hospitals the room number four is skipped.

Stick chopsticks into the rice: Do not stick your chopsicks into your food generally, but especially not into rice, because only at funerals, chopsticks are stuck into the rice which is put onto the altar.

Give food from chopstick to chopstick: This is only done with the bones of the cremated body at funerals.

Sleeping towards the North: Do not sleep towards the North beacause bodies are laid down like that.

Funeral Car: If a funeral car passes you should hide your thumb.

Cut nails at night: If you cut your nails at night, you will not be with your parents when they die.

Lie down after eating: If you lie down immedeately after eating, you will become a cow.

Whistle in the night: If you whistle in the night, a snake will come to you.

Black cat: There are also some imported superstitions such as the believe that black cats crossing the street in front of you cause bad luck. In many shrines, temples and souvenir shops, amulets are sold that are supposed to bring luck, safety or good fortune. There are amulets for money, health, love, success on exams, safety on the streets, etc. Small pieces of paper (omikuji) that predict your future are also available. These pieces of paper are tied around the branch of a tree after reading; either to make the good fortune come true or to avoid the predicted bad fortune.

THIS BOOK WAS ORIGINALLY CREATED AS AN ADvENTuRE

book in mind. One that you could flip through and read whichever

storyline for whichever particular character you cared for. However,

after revaluating my original concept of change through travel, it

seemed best to keep this book in the tradition of maps.

This book was based off of a map of New York City. This only

seemed fitting considering that the story takes place in New York.

As you travel though the different chapters, you will notice that

the text also changes it’s position depending on where the story

takes place. The five different quadrants are: Manhattan, Brooklyn,

Queens, The Bronx and Staten Island. Manhatten represents Snow

White’s main character storyline, Brooklyn features Bluebeard and

Boy Blue, Queens for Prince Charming and Pinnochio , The Bronx,

Bigby and The Adversary, and Staten Island for Animal Farm.

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che.

Hitc

hcoc

k al

so a

llow

ed B

ass

to w

ork

on t

he fi

lm it

self,

not

ably

on

its d

ram

atic

hig

hpoi

nt, t

he

fam

ous

show

er s

cene

with

Jan

et L

eigh

.

Ass

iste

d b

y hi

s se

cond

wife

, Ela

ine,

Bas

s cr

eate

d b

rillia

nt

title

s fo

r ot

her

dire

ctor

s —

from

the

ani

mat

ed a

lley

cat

in 1

961’

s W

alk

on t

he W

ild S

ide,

to

the

adre

nalin

-la

ced

mot

or r

acin

g se

que

nce

in 1

966’

s G

rand

Prix

. He

then

dire

cted

a s

erie

s of

sho

rts

culm

inat

ing

in 1

968’

s O

scar

-win

ning

Why

Man

Cre

ates

and

fina

lly r

ealis

ed h

is

amb

ition

to

dire

ct a

feat

ure

with

197

4’s

Pha

se IV

.

Whe

n P

hase

IV fl

opp

ed, B

ass

retu

rned

to

com

mer

cial

gr

aphi

c d

esig

n. H

is c

orp

orat

e w

ork

incl

uded

dev

isin

g hi

ghly

suc

cess

ful c

orp

orat

e id

entit

ies

for

Uni

ted

A

irlin

es, A

T&T,

Bel

l Tel

epho

ne S

yste

m a

nd W

arne

r C

omm

unic

atio

ns. H

e al

so d

esig

ned

the

pos

ter

for

the

1984

Los

Ang

eles

Oly

mp

ic G

ames

.

To y

oung

er fi

lm d

irect

ors,

Sau

l Bas

s w

as a

cin

ema

lege

nd w

ith w

hom

the

y lo

nged

to

wor

k. In

198

7, h

e w

as p

ersu

aded

to

crea

te t

he t

itles

for

Jam

es B

rook

s’

Bro

adca

st N

ews

and

the

n fo

r P

enny

Mar

shal

l’s 1

988

Big

. In

1990

, Bas

s fo

und

a n

ew lo

ng t

erm

col

lab

orat

or in

M

artin

Sco

rses

e w

ho h

ad g

row

n up

with

– a

nd id

olis

ed

- hi

s 19

50s

and

196

0s t

itles

. Aft

er 1

990’

s G

ood

fella

s

and

199

1’s

Cap

e Fe

ar, B

ass

crea

ted

a s

eque

nce

of

blo

ssom

ing

rose

pet

als

for

Sco

rces

e’s

1993

’s T

he A

ge o

f In

noce

nce

and

a h

aunt

ingl

y m

acab

re o

ne o

f Rob

ert

De

Niro

falli

ng t

hrou

gh t

he s

inis

ter

neon

s of

the

Las

Veg

as

Str

ip fo

r th

e d

irect

or’s

199

5’s

Cas

ino

to s

ymb

olis

e hi

s ch

arac

ter’s

d

esce

nt in

to h

ell.

Sau

l Bas

s d

ied

the

nex

t ye

ar. H

is N

ew Y

ork

Tim

es

obitu

ary

haile

d h

im a

s “t

he m

inim

alis

t au

teur

who

put

a

jagg

ed a

rm in

mot

ion

in 1

955

and

cre

ated

an

entir

e fil

m

genr

e…an

d e

leva

ted

it in

to a

n ar

t.”

CO

LOR

Black and

white only! N

O C

OLO

R!

One color from

Googled

image, b

lack and w

hite.

CO

MP

OS

ITIO

N

Cannot use m

ore than 3 elements on a sp

read.

So only B

ody Text (x1), or H

eadline (x1), or Im

age (x1), interchangeab

ly

Must b

e 40% of w

hite space

TY

PE

Must use only H

elvetica Neue, any w

eight, no other font unless hand

-rendered

.

All b

ody text m

ust take up less than 20%

of the page.

Head

lines and q

uotes, must b

e hand rend

ered or 10%

of the p

age.

IMA

GE

Head

lines must b

e taken from m

ovie posters that you find

from

magazines, new

spap

ers, or you shoot with a cam

era yourself, all m

ust be sans-serif.

Must have one hand

-rendered

image.

Must have one silhouette.

Must have one b

lack and w

hite screenshot from TV, a gam

e, or the com

puter.

FOR

MAT

Must b

e 2 times b

igger than a DV

D case.

Must b

e 2 times sm

aller than the first movie p

oster you see.

Must b

e half of the resolution of the comp

uter you are sitting at.

TO

OLS

Must use p

en or pencil to hand

render im

ages.

Must use a scanner to scan in hand

-rendered

images.

Must use Illustrator to m

ake silhouettes.

TH

UM

BN

AILS

Must b

e hand rend

ered.

Must b

e taken from research and

comp

iled into a

collage comp

osition. M

ust make contact sheets of researched

images.

RE

SE

AR

CH

/CO

NC

EP

TIN

G

Must b

e done through google im

ages/content.

Must b

e taken from b

ooks.

Must b

e taken from m

agazines.

Must b

e taken from C

Ds.

Must b

e taken from G

ames.

Must b

e taken from M

ovie Posters.

PR

OD

UC

TIO

N M

ET

HO

D

Print should

be b

ound into a p

lastic case.

Should

be m

ade into a p

oster.

OR

IEN

TATIO

N

Should

be p

ortrait

SE

CT

ION

1: G

AM

ES

TRA

VELIN

G

TH

E FLA

SH

AE

ST

HE

TIC

SE

CT

ION

4:

Dre

ss¥3

1994

A

NG

ELI

C P

RE

TTY

50’s

60’s

80’s

RIF

F: N

ow I

know

Ton

y lik

e I k

now

me

and

I gu

aren

tee

y

ou c

an c

ount

him

inA

CT

ION

: In,

out

, let

’s g

et c

rack

in’

GE

E-T

AR

: Whe

re y

ou g

onna

find

Ber

nard

o?R

IFF:

He’

ll b

e at

the

dan

ce t

onig

ht a

t th

e gy

mA

-RA

B: B

ut t

he g

ym’s

neu

tral

ter

ritor

yR

IFF:

A-r

ab, I

’m g

onna

mak

e ni

ce w

ith h

im! I

’m o

nly

gon

na c

halle

nge

him

!IC

E: G

reat

dad

dy-

o. m

oder

n st

yle.

Mar

tin S

cors

ese

once

d

escr

ibed

his

ap

pro

ach

as c

reat

ing:

“an

em

ble

mat

ic

im

age,

inst

antly

rec

ogni

sab

le a

nd im

med

iate

ly t

ied

t

o th

e fil

m”.

SC

OT

TIE

: Wha

t’s t

his

doo

hick

ey?

MID

GE

: It’s

a b

rass

iere

! You

kno

w a

bou

t th

ose

thin

gs,

you

’re

a b

ig b

oy n

ow.

SC

OT

TIE

: I’v

e ne

ver

run

acro

ss o

ne li

ke t

hat.

MID

GE

: It’s

bra

nd n

ew. R

evol

utio

nary

up

-lift

: No

shou

lder

s

trap

s, n

o b

ack

stra

ps,

but

it d

oes

ever

ythi

ng

a b

rass

iere

sho

uld

do.

Wor

ks o

n th

e p

rinci

ple

of

the

can

tilev

ered

brid

ge.

SC

OT

TIE

: It

doe

s?M

IDG

E: A

n ai

rcra

ft e

ngin

eer

dow

n th

e p

enin

sula

d

esig

ned

it; h

e w

orke

d it

out

in h

is s

par

e tim

e.S

CO

TT

IE: K

ind

of a

hob

by,

a d

o-it-

your

self

kind

of t

hing

!

DIC

k H

ALL

OR

AN

N: I

can

rem

emb

er w

hen

I was

a li

ttle

boy

. My

g

rand

mot

her

and

I co

uld

hol

d c

onve

rsat

ions

ent

irely

with

out

ever

op

enin

g ou

r m

outh

s.

S

he c

alle

d it

“sh

inin

g.”

And

for

a lo

ng t

ime,

I

tho

ught

it w

as ju

st t

he t

wo

of u

s th

at h

ad t

he

s

hine

to

us. J

ust

like

you

pro

bab

ly t

houg

ht

y

ou w

as t

he o

nly

one.

But

the

re a

re o

ther

fol

ks, t

houg

h m

ostly

the

y d

on’t

know

it, o

r

don

’t b

elie

ve it

. How

long

hav

e yo

u b

een

able

to

do

it?...

Why

don

’t yo

u w

ant

to t

alk

abou

t it?

DA

NN

Y T

OR

RA

NC

E: I

’m n

ot s

upp

osed

to.

DIC

k H

ALL

OR

AN

N: W

ho s

aid

you

ain

’t su

pp

osed

to?

DA

NN

Y T

OR

RA

NC

E: T

ony.

DIC

k H

ALL

OR

AN

N: W

ho’s

Ton

y?D

AN

NY

TO

RR

AN

CE

: Ton

y is

a li

ttle

boy

tha

t liv

es in

my

mou

th.

DIC

k H

ALL

OR

AN

N: I

s To

ny t

he o

ne t

hat

tells

you

thi

ngs?

DA

NN

Y T

OR

RA

NC

E: Y

es.

DIC

k H

ALL

OR

AN

N: H

ow d

oes

he t

ell y

ou t

hing

s?D

AN

NY

TO

RR

AN

CE

: It’s

like

I go

to

slee

p, a

nd h

e sh

ows

me

thin

gs. B

ut w

hen

I wak

e up

,

I c

an’t

rem

emb

er e

very

thin

g.D

ICk

HA

LLO

RA

NN

: Doe

s yo

ur M

om a

nd D

ad k

now

ab

out

Tony

?D

AN

NY

TO

RR

AN

CE

: Yes

.D

ICk

HA

LLO

RA

NN

: Do

they

kno

w h

e te

lls y

ou t

hing

s?D

AN

NY

TO

RR

AN

CE

: No.

Ton

y to

ld m

e ne

ver

to t

ell ‘

em.

DIC

k H

ALL

OR

AN

N: H

as T

ony

ever

tol

d y

ou a

nyth

ing

abou

t th

is

p

lace

? A

bou

t th

e O

verlo

ok H

otel

?D

AN

NY

TO

RR

AN

CE

: I d

on’t

know

.D

ICk

HA

LLO

RA

NN

: Now

thi

nk r

eal h

ard

now

. Thi

nk.

DA

NN

Y T

OR

RA

NC

E: M

ayb

e he

sho

wed

me

som

ethi

ng.

DIC

k H

ALL

OR

AN

N: T

ry t

o th

ink

of w

hat

it w

as.

DA

NN

Y T

OR

RA

NC

E: M

r. H

allo

rann

, are

you

sca

red

of t

his

pla

ce?

DIC

k H

ALL

OR

AN

N: N

o. S

care

d -

the

re’s

not

hin’

her

e. It

’s ju

st

that

,

you

kno

w, s

ome

pla

ces

are

like

peo

ple

. S

ome

“s

hine

” an

d s

ome

don

’t. I

gues

s yo

u co

uld

say

the

Ove

rlook

Hot

el h

ere

has

som

ethi

n’

alm

ost

l

ike

“shi

ning

.”D

AN

NY

TO

RR

AN

CE

: Is

ther

e so

met

hing

bad

her

e?D

ICk

HA

LLO

RA

NN

: Wel

l, yo

u kn

ow, D

oc, w

hen

som

ethi

ng

h

app

ens,

you

can

leav

e a

trac

e of

itse

lf

beh

ind

. Say

like

, if s

omeo

ne b

urns

toa

st.

Wel

l,

may

be

thin

gs t

hat

hap

pen

leav

e ot

her

kind

s

of t

race

s b

ehin

d. N

ot t

hing

s th

at a

nyon

e ca

n

not

ice,

but

thi

ngs

that

peo

ple

who

“sh

ine”

ca

n

see

. Jus

t lik

e th

ey c

an s

ee t

hing

s th

at h

aven

’t

hap

pen

ed y

et. W

ell,

som

etim

es t

hey

can

s

ee t

hing

s th

at h

app

ened

a lo

ng t

ime

ago.

I

thi

nk a

lot

of t

hing

s ha

pp

ened

rig

ht h

ere

in

this

par

ticul

ar h

otel

ove

r th

e ye

ars.

And

not

all

of

‘

em w

as g

ood

.D

AN

NY

TO

RR

AN

CE

: Wha

t ab

out

Roo

m 2

37?

DIC

k H

ALL

OR

AN

N: R

oom

237

?D

AN

NY

TO

RR

AN

CE

: You

’re

scar

ed o

f Roo

m 2

37, a

in’t

ya?

DIC

k H

ALL

OR

AN

N: N

o I a

in’t.

DA

NN

Y T

OR

RA

NC

E: M

r. H

allo

rann

. Wha

t is

in R

oom

237

?D

ICk

HA

LLO

RA

NN

: Not

hin’

. The

re a

in’t

noth

in’ i

n R

oom

237

. But

you

ain

’t go

t no

bus

ines

s go

in’ i

n th

ere

a

nyw

ay. S

o st

ay o

ut. Y

ou u

nder

stan

d?

S

TAY

OU

T.

FOR

wA

RD

ME

SS

Y D

ES

IGN

IS T

HE

SU

Ck

AN

D C

ON

FUS

ING

,S

O D

ES

IGN

SH

OU

LD U

SE

SIM

PLE

FOR

MS

.

TH

E w

HO

. wH

AT. wH

ER

E. w

HE

N.

Th

e p

rime

r for th

e d

es

ign

pro

ce

ss is b

rok

en

into

thre

e s

ep

ara

te

se

ctio

ns

: Do

, Th

ink

, an

d N

ee

d.

LOO

kIN

G

FOR

S

OM

ET

HIN

G

FUN

TO

P

LAY

?

WE

LCO

ME

TO

TH

E 2

1ST

CE

NTU

RY.

YO

UR

FIR

ST

VIS

UA

L M

OV

EM

EN

T H

AS

AR

RIV

ED

.

SE

CT

ION

2:

ITE

MS

FOU

ND

ON

CD

S

SE

CT

ION

3: FLA

SH

INS

PIR

ATIO

N

夏に

大活

躍間

違い

なし

夏に

大活

躍間

違い

なし

のス

エッ

トス

カー

のス

エッ

トス

カー

ト。

暑

ト。

暑い

夏を

涼し

く演

出し

てく

れそ

うだ

ね。

い夏

を涼

しく

演出

して

くれ

そう

だね

。 -

HEL

LCA

TPU

NK

S：ヘ

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¥23

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％

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Regular Exclusion Sketch X-Ray

pest (s) istence

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—Karen Pedroza, on being a muffin.

—Karen Pedroza, on being a muffin. —Karen Pedroza,

on being a muffin.

i wanna give you

—Karen Pedroza,

on being a muffin.

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—Karen Pedroza, on being a muffin.

—Karen Pedroza, on being a muffin.

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