shot deck的八卦，YOUTUBE、PINTEREST和Yahoo名人娛樂都在討論

PRESS STATEMENT (IN REPLY TO RONNIE LIU)

I refer to the press statement from the State Assemblyman of Sungai Pelek, titled “Muhyiddin must come clean on the COVID-19 vaccine.” The State Assemblyman has claimed several inaccuracies, allegations, and misrepresentations that require answering in this statement.

I will answer them one by one.

1. The State Assemblyman has alleged that the mRNA vaccine will alter the DNA of a person. He has also questioned whether it will be approved by JAKIM based on the same premise.

Briefly, in our cells, mRNAs (messenger RNAs) are temporary molecules that are made from our genomic DNA before it is translated to make a protein. It is essentially a short-term, temporary message.
In this case, the temporary message instructs the body to produce one of the proteins on the surface of the coronavirus. The immune system will then learn to recognise the virus protein and produce antibodies against it. That’s all the mRNA vaccine does. It does not alter your DNA.

In response to State Assemblyman’s query if JAKIM will approve the vaccine since “it is capable of altering the DNA of a person?” The DNA issue has been addressed above. In addition, I have already stated that JAKIM is part of the Jawatankuasa Khas Jaminan Akses Bekalan Vaksin COVID-19 (JKJAV) which assesses COVID-19 vaccines. Furthermore, Minister in the Prime Minister's Department (Religious Affairs) YB Datuk Seri Dr Zulkifli Mohamad Al-Bakri clarified in Parliament, the Muzakarah (Conference) of the National Fatwa Council will study and deliberate on the matter.

2. The State Assemblyman has also questioned who will be paying for the vaccine. If he read beyond the headlines of the announcement, he would have seen that the Prime Minister has pledged that the Government will fund the public COVID-19 vaccination programme for Malaysians with an initial target of 70% of our population to reach herd immunity. The Malaysian Government has set aside at least RM 3 billion solely for this purpose.

3. The pricing of the Pfizer vaccine is covered by a non-disclosure agreement as each country negotiates directly with the pharmaceutical company. Suffice it to say we are satisfied with the terms and pricing that we have agreed upon. The terms we have reached protect Malaysia’s interests both financially and with regards to the safety of the vaccine.

I can categorically confirm that it is definitely less than the RM100 per dose as assumed by the State Assemblyman.

4. The State Assemblyman also claimed that we are rushing to sign deals with vaccine manufacturers. I can categorically say that this is false. We have been negotiating with vaccine manufacturers since April 2020 when we announced our Science Diplomacy strategy. We are considering all data provided by the companies we are negotiating with in order to make the best, most informed decision. This is just the first of many deals that we are considering. Negotiations are ongoing including with vaccine manufacturers from China (including the manufacturer which the State Assemblyman strongly champions). I would like to emphasise that the vaccines must be deemed safe and efficacious by the National Pharmaceutical Regulatory Agency (NPRA) under MOH before we execute the agreements and begin the vaccination process.

It is important to note that not any one pharmaceutical company will be able to supply vaccines for the entire Malaysian population. This is why the multi-pronged approach to procure a portfolio of vaccines is significant in order to obtain enough doses to meet our herd immunity target of 70% of the population.

5. With regards to the ultra-cold supply chain required; the shipment will be handled and delivered by Pfizer directly.

As for ultra-cold storage, we have ultra-low temperature freezers in universities and research institutes in the country which can be redeployed, if necessary. Pfizer has also shown that the vaccines are stable at 2-8 degree Celsius for five days.

We are also not getting the 12.8 million doses in one shot. They will be staggered throughout the year. Our planning for storage will take the delivery schedule into consideration.

6. MOH’s efforts during the crisis have not only been domestically praised but also internationally recognised. They have been working constantly and consistently to ensure that Malaysians have among the best standards of healthcare in the world. All of us will help where we can.

We are taking a whole-of-government approach to the COVID-19 crisis. It is all hands-on deck. Every one of my Cabinet colleagues is involved in this effort to get us through this pandemic.

On the question as to why I am involved, I co-chair the JKJAV with Health Minister, YB Dato’ Seri Dr Adham Baba. MOSTI is also involved in vaccine negotiations as the ministry in charge of biotechnology. The Malaysia Genome Institute under MOSTI is producing whole genome sequencing and bioinformatics analysis to detect mutations in the genome from COVID-19 samples.

MOSTI is also in the midst of developing a National Vaccine Roadmap. The National Institutes of Biotechnology (NIBM), Malaysia under MOSTI is collaborating with multiple foreign research institutes in vaccine development R&D as well.

I continue to welcome questions and queries on this important national endeavour.

KHAIRY JAMALUDDIN

30 NOVEMBER 2020

https://www.khairykj.com/statements/press-statement-in-reply-to-ronnie-liu

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

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Kyle Korver stunned almost everyone with perhaps the most thrilling 3-pointer of his career.

Korver was mobbed by his wildly celebrating teammates. Boston players sat dazed on the bench. A third overtime was on deck.

Allen Iverson simply pumped his fist, his face expressionless as if he expected it.

"Kyle hit that big shot and I was thinking, 'If he hit that shot, we've got to win it," he said.

After Korver sent the game into a third overtime, Chris Webber delivered a clutch steal and secured the Philadelphia 76ers' 125-124 victory over the Celtics on Friday night.

"It was an amazing game," Sixers coach Maurice Cheeks said.

Was it ever.

Webber had 31 points and 13 rebounds, Iverson scored 33 points with 10 assists, and Samuel Dalembert had 20 points and 11 rebounds in the Sixers' longest game since a triple OT victory over Miami on Nov. 20, 1992.

Korver added 12 points -- including his biggest 3-pointer of the season -- as the Sixers avoided dropping two games under .500 for the first time since Dec. 9.

With the Sixers ahead 125-124 and only seconds left in the third overtime, Mark Blount grabbed a defensive rebound and looked down the court for an open man, only to have Webber reach around and strip the ball.

"I was very cognizant of the fact, don't touch him," Webber said. "I saw him hold it out there. He was looking at the ref. A lot of times they'll hold the ball close to their chest and he didn't do that today."

Iverson missed two free throws -- the second intentionally -- with 2 seconds left. Delonte West's heave was off the mark, ending the drama in the 395th game between the longtime, fierce rivals.

"That was a game-saving steal," Cheeks said.

Ricky Davis scored 33 points, Blount had 27 and Paul Pierce 18 for the Celtics.

"It's tough, but it's fun," Pierce said. "It's draining, but I'm glad I had a chance to be a part of it."

Korver prolonged the drama when he buried a game-tying 3-pointer over a flailing West to end the second overtime tied at 121-all.

"I pulled up, and gave about all I had," Korver said. "It was on line, luckily."

While Iverson calmly pumped his fist, Brian Scalabrine mouthed "What are you going to do?" as the rest of the Celtics headed for the bench stunned.

Boston scored the first three points of the third overtime on a free throw and then a basket from Blount.

Over? No way.

Andre Iguodala added a driving layup and Webber gave the Sixers a 125-124 lead on two free throws. Each team only made one basket in the third overtime, fatigue perhaps finally playing a factor.

"You had guys that were exhausted out there," Cheeks said.

Davis played 57 minutes and Pierce 51 for Boston. Iverson checked in at 54 minutes, Andre Iguodala at 52 and Webber 50. The Celtics went 44-for-100 from the floor; the 76ers 41-for-99.

Each team had a chance to put away the game in the earlier overtimes.

Webber powered his way down the baseline for a layup and a 118-117 lead with 21 seconds left in the second overtime. Pierce lobbed a pass from the top of the 3-point arc to a streaking, wide-open Blount for an uncontested dunk that gave Boston a 119-118 lead with 17 seconds left in the second OT.

The Celtics appeared to have this game won until Korver did what he does best -- hit a clutch 3-pointer.

"I'd like to see the tape on that," West said. "I thought I was there. I forced him to take a tough one. That's what good shooters do."

Webber scored the first four points of the first overtime, and Davis scored six to finish the quarter tied at 109.

Oddly, the Sixers chose to play a clip from "Cheers," Boston's favorite bar, to get what was left of the sold-out crowd pumped for the second overtime.

Both Davis and Webber picked up offensively where they left off in the first OT, with Davis' three-point play matched by Webber's 3-pointer from the top of the arc.

Pierce lobbed a pass from the top of the 3-point arc to a streaking, wide-open Blount for an uncontested dunk that gave Boston a 119-118 lead with 17 seconds left in the second OT.

West -- the former Saint Joseph's star who received a warm ovation during pregame introductions -- heard nothing but boos when his 14-footer over Iverson from the right side tied the score 101-all with 51 seconds left.

Iverson missed the final shot of regulation as time expired.

《爐石驗證》無邊黑暗秘密測試
https://youtu.be/8pS7NO78N5M
《爐石驗證》無邊黑暗被號召出來會怎樣？可以被沉默嗎？
https://youtu.be/64EOqKF4Evs
《爐石驗證》無邊黑暗的休眠體會被女王偷走？可以進化出無邊黑暗嗎？
https://youtu.be/_wR2Jgrt7GA

BGM：Coffee_Stains

更多貓貓請看：https://youtu.be/0bkGT4Cxm-c

無邊黑暗
The Darkness
休眠。戰吼：將3張蠟燭洗入敵方牌堆。全數抽中時喚醒它
Starts dormant. Battlecry: Shuffle 3 Candles into the enemy deck. When drawn, this awakens.

群體驅魔
Mass Dispel
沉默敵方全部手下。抽一張牌
Silence all enemy minions. Draw a card.

末日預言者
Doomsayer
在你的回合開始時，摧毀全部手下
At the start of your turn, destroy ALL minions.

扭曲虛空
Twisting Nether
摧毀全部手下
Destroy all minions.

末日來臨！
DOOM!
摧毀全部手下。每摧毀一個手下可讓你抽一張牌
Destroy all minions. Draw a card for each.

大災變
Cataclysm
摧毀全部手下。捨棄你的所有手牌
Destroy all minions. Discard your hand.

死亡之翼
Deathwing
戰吼：摧毀全部其他手下並捨棄你的全部手牌
Battlecry: Destroy all other minions and discard your hand.

背叛
Betrayal
強迫一個敵方手下對兩側的手下造成等同其攻擊力的傷害
Force an enemy minion to deal its damage to the minions next to it.

夾牆機關
Crushing Walls
摧毀敵方最左邊與最右邊的手下
Destroy your opponent's left and right-most minions.

消失
Vanish
使全部手下返回擁有者的手中
Return all minions to their owner's hand.

心靈尖嘯
Psychic Scream
將全部手下 洗入對手的牌堆中
Shuffle all minions into your opponent's deck.

鬥毆
Brawl
摧毀全部手下，只留下一個。(隨機選擇)
Destroy all minions except one. (chosen randomly)

致命射擊
Deadly Shot
摧毀一個隨機敵方手下
Destroy a random enemy minion.