matebas

wild-daddy-appears  asked:

Mateba unica 6 pretty please?

Girls with guns themed artworks for the Mateba Model 6 Unica are as rare as the gun itself. What you see here are literally the only ones that I can find!

Mateba Unica Autorevolver by pororoka

まてばー by りっつん

荒野の天使 by つきかせ(むつき)

私はあなたの使い魔だから 01 下  by クレセント

Artwork via Twitter

Mateba Model 6 Unica, aka the Mateba Autorevolver
Manufactured by Macchine Termo-Balistiche in Pavia, Italy, following the design of Emilio Ghisoni. This example is chambered in .357 Magnum/.38 Special, but this revolver was also produced in .44 Magnum/.44 Special and .454 Casull/.45 Long Colt - switching from a cartridge to another with a given caliber required to change the frame’s spring for the weapon to cycle properly.
As per usual with Mateba revolvers, it features a six o’clock barrel, aligned with the bottom chamber of the swing-out hexagonal six-round cylinder in a way that - supposedly - suppresses barrel flip by aligning the barrel with the user’s hand, a profile even more pronounced in the Mateba MTR series.
The most distinctive feature of the Mateba Unica however is that it is one of the very few commercial automatic revolver design in existence, like the Webley-Fosbery series, and the only one to have been produced in living memory (except for a bunch of very old ladies that were born around 1900, they might remember that since the production of the Webley-Fosbery ran up to 1915).
Upon firing the revolver, the whole frame, cylinder and barrel would slide back on the handle for about 12mm - sorry for my Imperial buddies, I don’t care - and cock the hammer for the next shot.
A very cool-looking, cyber-punkish gun that’s both sexy and unique.

Also exists as the Griffone Carbine for extra sexiness !

pictured here along with a MTR series carbine

the Webley-Fosbery M1903 automatic revolver

Ghost in the Shell 2017

Ghost in the Shell 2017 is a patchwork of ransacked imagery used to tell yet another story where Scarlett Johansen gets used by the powers that be.

Understand that I’m not just talking about the stuff it lifts from the 1995 anime, the 2004 sequel, Ghost in the Shell: Innocence, or even the stuff it takes from the second series of Stand Alone Complex and GitS: Arise, although that is certainly present. The imagery it co-opts is broader, taking a story that is deeply, fundamentally about the rise of Japan as a consumer electronics superpower, about the modernisation and global identity of East Asia. It twists the core philosophy at the heart of Ghost in the Shell, a story about connectedness, society and finding one’s identity within it and turns it into a story about revenge, isolation and taking ones identity away from society, by force if necessary.

Let’s start with the easy part, the imagery it directly borrows from the animated franchise before it. GitS 2017 is wall to wall visual references, almost to the point where it feels like the storyboards for the movie were just stills taken from the animated franchise with a few scenes of Johansen’s Black Widow thrown in when choreographed violence was needed. Iconic scenes from the 1995 movie are lifted wholesale, although in such a way as to remove the context of the original. The stunning cyborg creation scene from the opening credits of GitS 1995 is here, although it is not assumed to be a routine process. In the original the scene exists to illustrate how such precision, impossible engineering is commonplace now, like watching footage of an automobile assembly line. In the new film it exists to show something exceptional, one of a kind. In GitS 1995, in SAC, indeed, in every other iteration the idea of a fully cyberised body is normal. High end perhaps, maybe not commonplace, but normal. A neat analogy for the increasing effect technology has on our daily lives.  Throughout the new movie Johansen’s Major is constantly told how special she is, how remarkable her body is and how, one day, everyone will be like her. Thats a theme that kind of runs through this new release. It doesn’t seek to normalise its technology, but instead pushes it to the fringes, so it’s either the preserve of criminals, corporations or military organisations, or indeed a combination of the three.

The hacked sanitation worker/ market shootout/ alleyway chase scene from the first film is also recreated, lovingly crafted whilst missing the original point entirely. In the original the sanitation worker and the assassin were two distinct characters, both co-opted by the Puppet Master to carry out brain hacks of key individuals. They are both revealed to have had their memories hacked and replaced with a surface level ruse designed to fool them just enough so that they believe this false reality. The 2017 movie also uses this idea, though it casts the two patsies as the same person, (which is admittedly understandable for the sake of brevity). What it does differently is that it treats their memory hack as a remarkable, never-before-seen intrusion. It’s evidence of a definite, malevolent and specific agency rather than just another aspect of a reality where people have had their own brains and thoughts digitised and interconnected. Not a natural societal outcome, but the will of an individual. Its that Eastern collectivism vs Western individualism played out.

While we’re on the subject of the remake’s approach to how it speculates on this futuristic technological scenario I was reminded of a particular episode of Stand Alone Complex. In the new movie the Major is revealed to actually be a young woman with an anti-technology political leaning forced against her will to inhabit this new, cyborg body (more on THAT later). It intrinsically casts technology as this malevolent force that is imposed upon people, that the forward thinking amongst us would reject this sort of thing. By contrast, the second episode of season one of Stand Alone Complex, Runaway Evidence, paints the idea of taking an artificial body as a thing to be desired, as something that can help people. In the episode, Section 9 tracks a multi-pedal battle tank that has run amok. At the end of the episode it is revealed that the tank is actually being controlled by a the brain of a revenge-seeking young man who, dying of a wasting disease, was refused an artificial body by his parents on religious grounds even though it would save his life. The central message is that technology can be helpful and that to deny it to those who could benefit from it on, shall we say, less empirical grounds is cruel, wrong even.

There are so many other visual and narrative references. Innocence gets plentiful nods, from the Yakuza shootout, murder geishas, the doctor, Aramaki’s office, even Batou’s love for dogs (they had a basset hound in there too, but they got the bloody sub-breed wrong). The major’s red jumpsuit in the night club shootout is an Arise reference. The film’s tragic and misunderstood antagonist is a rough mash up of the Puppet Master from the 1995 movie and the bad guy, Kuze, from the second series of Stand Alone Complex. It’s messy, and raises the inevitable question; who is this movie for?

Despite all the references, its hard to make the argument that the film was aimed at fans of the original release. Simply put, the philosophy GitS 2017 espouses is so nascent, so entry-level, it doesn’t add anything to the narrative. Loose pondering about identity and the immateriality of memory is a far cry from the original, indeed the franchise as a whole’s, discussion of the nature of humanity and the nature of society in an ever-changing technological landscape. It’s perhaps old hat now, but at the time GitS was thought provoking and special, the message it conveyed perhaps more important than the story it was attached to. The remake is the opposite, a story that has some desultory meanderings applied almost as an homage to what came before. It’s a small, personal and insular revenge story, and it’s a real shame to see Scarlett Johansen falling back into the same role of the hyper-competent but completely owned soldier again and again.

To top it all off the new film is, ultimately, kind of sloppy. It doesn’t justify its design decisions. Everything is painted with a broad brush, concerned with what looks surface-level cool rather than what would actually fit or trying to explain things. The original movie and its sequels, much like the manga that preceded them, were obsessed with detail. Things like the major ejecting and replacing the overheated barrel of her rifle because she was firing HV ammo. Making a point of showing the major swimming with a float tank because her cyber body is too heavy to swim, or in Innocence Togusa asking why Batou chooses such a high-maintainance dog (the basset hound) considering his busy lifestyle. Even the expository bureaucratic dialogue helps us to comprehend how complex and nested the various political factions are. None of these things are really necessary to the story but they help build on the world and the characters in it. GitS 2017 relies too much on leaning on what came before it rather than building something it can itself stand on, assuming the audience knows enough already. I remember commenting on how nice the city looked before acknowledging that it had better, considering Future Shanghai is such a well worn and established visual trope at this point. When everything from movies to games to anime to music videos have nailed that aesthetic a decade or more previous you’d best believe you need to get it right. In the original franchise Togusa is this well developed character who shows up in every element of the franchise, he exists to provide an essential human element to a story about cyborgs who are increasingly detached from their humanity. In the 2017 film he’s a no-nonsense ballbuster. All he retains is his shitty mullet and his mateba pistol (speaking of guns, and attention to detail, how do you make a live action remake of GitS and NOT make replicas of Shirow’s Seburo guns? Do you know how hard it is to get an airsoft kit of one of those? Girl’s been wanting one of those for a damn while).

The last thing I need to touch on is the film’s whitewashing. It’s practically impossible NOT to talk about it, considering it’s likely what killed it the most at the box office. Scarlett Johansen plays the Major as a caucasian-looking cyborg who, spoilers, is actually a Japanese girl (named Motoko Kusanagi, surprising no one) who has been forced into it against her will and, to begin with, her knowledge. It doesn’t matter that Mamoru Oshii okey’d it, or that the plot ‘justifies’ it to an extent. It’s no secret that East Asia, Japan and South Korea especially, have a problem with perceived beauty standards, with ‘western’ looks and body types being seen as increasingly desirable and preferable. Casting Johansen as this iconic character just exacerbates that, pushing and reinforcing an already damaging standard. Its what I identified earlier, doing things for looks rather than for a purpose. At the end of the movie Johansen is looking down at the grave of ‘herself’, the grave of Motoko Kusanagi. We know its her grave not from inference, or because someone says something, but because its written on the headstone. In English. Not in Japanese. Even though that would make more sense. But the whitewashing isn’t just in the casting; it’s the warping and twisting of the story, forcing this big picture story about Japanese technological advancement, the complexities of society and progress into a small, individualist narrative about revenge and fighting a system that can be represented by one overly simplistic baddy.

I didn’t like Ghost in the Shell 2017. Now, I’ll freely acknowledge that I may be too close to the franchise, I wrote my undergrad dissertation on it for goodness sake. And the fantasy of a world where someone can change their body like they’re buying a car is absolutely fascinating for someone who has real problems with their own body image and wishes they could change it right here, right now, as I type this. But I don’t think it’s unfair to discuss the film in relation to the media that came before it. In that regard it’s overly simplistic, derivative and strangely technophobic. Even taken by itself it’s relatively uninspired, not making nearly enough of the ideas and the space it works in and serving as another rote tale of a hard done by individual fighting against an oppressive and remarkably simplistic oppressor. GitS is better than that, its bigger than that and I hope beyond hope that this film’s lacklustre performance at the box office will deter the Akira remake, the Battle Angel Alita film adaptation that James Cameron has been threatening and any other needless anime adaptations that Hollywood has on the back burner.

Also, I can’t tell if Takeshi Kitano was well cast as Chief Aramaki or whether they cast him because no one in the West knows of any other older Japanese dudes to fill the role. 

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@teashima

STARDUST; Itowokashi

確かめたくて
tashikametakute
I peeked inside the hole

覗き込んだ穴の中
nozoki konda ana no naka
To see what was in it

それだけじゃ足りなくて
soredake ja tarinakute
But that alone wasn’t enough

別の言葉探した
betsu no kotoba sagashita
So I looked around for different words

欲しいものだけ
hoshii mono dake
Getting what I wanted

手に入れたいと思っていた
te ni iretai to omotteita
Was all that I concerned myself with

つまらない大人には
tsumaranai otona ni wa
Looks like I’m gonna end up a boring grown-up

すぐになれるんだなぁ
sugu ni narerun da naa
Sooner than I thought

雨が降ったって空が曇ったって
ame ga futtatte sora ga kumotatte
Even if it rains, even if it’s cloudy

それもいとをかし最高じゃない?
sore mo itowokashi saikou janai?
Those days are also amazing, aren’t they?

描いてた
egaiteta
The tomorrow we pictured

明日と今日は違うけど
asu to kyou wa chigau kedo
May be different from today, but

晴れたらいいな
haretara ii na
Wishing that it will be

願い事なんて
negaigoto nante
A clear, sunny day

それくらいがちょうどいい
sore kurai ga choudo ii
Is enough of a desire

僕らの結末なんて
bokura no ketsumatsu nante
Who cares what our ending is?

知りたくもない
shiritaku mo nai
I don’t even wanna hear it

夢を未来に変えられるのは
yume wo mirai ni kaerareru no wa
The one who’s gonna change our dreams into a tangible future

誰かじゃなくていまの自分
dareka janakute ima no jibun
Isn’t “someone” but “me”

流れ星に願いを込めても
nagareboshi ni negai wo kometemo
Even if I wished on a shooting star

何も降って来やしない
nani mo futte kiyashinai
It won’t rain down anything on me

いつも通りに
itsumo doori ni
I thought that my life would go on

生きられると思っていた
ikirareru to omotteita
Just like always

満たされない気持ちだけ
mitasarenai kimochi dake
Only my feelings of unsatisfaction

複雑に入り組んだ
fukuzatsu ni irikunda
Were mashed up together in complicated ways

全て無くなって
subete nakunatte
Even if we lose everything

ゼロになったって
zero ni nattatte
Even if we’re back at zero

ここは日本だし大丈夫じゃない?
koko wa nihon dashi daijoubu janai?
This is Japan, so things will be okay, won’t it?

世界は今日も変わり続けても
sekai wa kyou mo kawari tsuzuketemo
Even if the world continues to change even today

僕ら描いた
bokura egaita
How far do we have to walk

理想の場所まで
risou no basho made
To the ideal place

どれくらい歩けばいい?
dore kurai arukeba ii?
That we pictured?

大人になる前には知りたいから
otona ni naru mae ni wa shiritai kara
I wanna know before I become a grown-up

さよならなんて
sayonara nante
Don’t ever say

二度と言わないで
nidoto iwanaide
Goodbye to me again

悲しませはしないから
kanashimase wa shinai kara
I swear to never let you feel sad

流れ星は見えやしないけど
nagareboshi wa mieyashinai kedo
I can’t see any shooting stars around

何も気にしちゃいない
nanimo ki ni shichainai
But that doesn’t bother me

消えそうな輝きに
kiesou na kagayaki ni
I bet everything I had

全てを賭けて
subete wo kakete
On a light that was close to fading

大嫌いな世界に
daikirai na sekai ni
To make a stand against

立ち向かうんだ
tachi mukaun da
This world that I hate

愛されるまで待てばいい
aisareru made mateba ii
Just keep waiting until you’re loved

ぼやけたままで
boyaketa mama de
Even while still a blur

僕らは一瞬では消えやしない
bokura wa isshun de wa kieyashinai
We will never fade that instantly

晴れたらいいな
haretara ii na
Wishing that it will be

願い事なんて
negaigoto nante
A clear, sunny day

それくらいがちょうどいい
sore kurai ga choudo ii
Is enough of a desire

僕らの結末なんて
bokura no ketsumatsu nante
Who cares what our ending is?

知りたくもない
shiritaku mo nai
I don’t even wanna hear it

夢を未来に変えられるのは
yume wo mirai ni kaerareru no wa
The one who’s gonna change our dreams into a tangible future

誰かじゃなくていまの自分
dareka janakute ima no jibun
Isn’t “someone” but “me”

流れ星に願いを込めても
nagareboshi ni negai wo kometemo
Even if I wished on a shooting star

何も降って来やしない
nani mo futte kiyashinai
It won’t rain down anything on me

輝きは消せやしない
kagayaki wa keseyashinai
The light will never fade

4

Chiappa Rhino 200DS

The snub-nosed version of the Rhino, these revolvers are the descendants of the famed Mateba Unica 6. The low barrel profile and axis reduces recoil and muzzle flip to almost nothing even with high powered .357 Magnum loads. I shot one recently and I’ve never been so impressed by a revolver. We even loaded some Buffalo Bore .357 Mag into it and had a 12 & 14 year old girl shoot the Rhino. They were able to handle it easier than a Glock 17 and XDM. It’s one of those guns you have to shoot in order to appreciate in spite its kind of ugly silhouette, which a lot of people complain about. (GRH)

أمثال يابانية
  • 1- saru mo ki kara ochiru حتى القرود تسقط من الشجر (بمعنى : حتى الخبير بالشيء يخطئ)

2- issun no mushi nimo gobu no tamashii حتى الدودة لها مشاعر

3- kabe ni mimi ari, shouji ni me ari الجدران لها آذان، والأبواب اليابانية لها عيون! (لأنها مصنوعة من الورق)

4- shitashiki nakama nimo reigi ari الأدب ليس فقط مع الغرباء (كن مؤدباً حتى مع أصدقائك المقربين)

5- rokujuu no tenarai تعلم الكتابة ولو بعد الستين

6- mochi wa mochi ya كعكة الأرز من صانع كعكة الأرز (بمعنى :كل شخص يؤدي عمله بشكل أفضل من غيره)

7- aho ni toriau baka من الغباء أن تتعامل مع غبي

8- baka na ko hodo kawaii الطفل الأغبى في العائلة هو المحبوب أكثر

9- kaeru no ko wa kaeru ابن الضفدع هو الضفدع (بمعنى: الأبناء يأخذون مساوئ أهاليهم)

10- doku kurawaba sara made إذا أكلت السم، أنهِ الصحن كاملاً . (إذا أكلت السم، لا تنس أن تلعق الصحن)

11- inu o mikka kaeba san-nen on o wasurenu, neko wa san-nen katte mikka de on o wasureru أطعم الكلب لثلاثة أيام وسيكون شاكراً لك لثلاث سنوات، وأطعم القط لثلاث سنوات وسينسى ذلك بعد ثلاث أيام.

12- ja no michi wa hebi خذ ثعباناً كي تعرف كيف تفكر الثعابين الأخرى

13- rainen no koto wo ieba oni ga warau إذا قلت سأفعل في السنة القادمة، سيضحك الشيطان

14- rei mo sugireba burei ni naru إذا بالغ الشخص في الأدب، فاعلم أنه غير مؤدب (الغير مؤدب يتخفى تحت غطاء الأدب)

15- iroke yori kui ke الكلمات الرقيقة لا تملأ المعدة

16- atama kakushite, shiri kakusazu يختبئ كالنعامة (تخبئ رأسها وتعرض مؤخرتها للخطر) (المعنى : أنه لا يحتاط ويحمي نفسه من جميع الجهات)

17- baka no hitotsu oboe ذلك الذي يعرف شيئاً قليلاً، تجده دائماً يكرره

18- nana korobi ya oki إذا سقطت سبع مرات، ستقوم في الثامنة

19- nama byouhou wa ookegano moto مقدار ضئيل من التعلم شيء خطير

20- iwanu ga hana التي لا تتكلم هي الزهرة ( هذا يشابه قولنا : السكوت من ذهب)

21- me wa kuchi hodo ni mono wo ii الحب لا يحتاج إلى الكلمات

21- me wa kokoro no kagami العيون هي مرآة الروح

22- mime yori kokoro القلب أهم من المظهر

23- en no shita no chikara mochi أد الواجب ولا تنتظر شكراً

24- atatte kudake yo إذا حاولت، لا تفكر فيما سيحدث

25- muri ga toreba, dori hikkomu إذا أتى اللامنطق، ذهب المنطق

26- ikihaji kaku yori, shinu ga mashi الموت أفضل من العيش مع العار

27- oshieru wa manabu no nakaba nari التعليم نصف التعلم

28- yudan taiteki الإهمال هو العدو الأكبر

29- raku areba baku ari الألم مصاحب للسرور

30- kiku wa hitotoki no haji, kikanu wa isshou no haji إذا سألت ربما سيكون الخجل للحظة، ولكن إذا لم تسأل سيكون الخجل معك طوال الحياة

31- oya no kokoro ko shirazu ليس هناك طفل يعرف مقدار محبة والديه له

32- nigashita sakana wa ooki السمكة التي تفلت هي دائماً الكبيرة

33- nikumarekko yo ni habakaru الأعشاب الضارة تنمو وتزدهر

34- nido aru koto wa sando aru ما حدث مرتين سيحدث للمرة الثالثة

35- nido to onaji te wa kuwanai السمكة لا تأكل من نفس الطعم مرتين

36- nito wo ou mono wa nito mo ezu من يلحق أرنبين لن يمسك شيئاً

37- miru koto wa shinjiru koto التصديق عند المشاهدة

38- kane ga mono wo iu النقود تتكلم

39- kateba kangun الخاسرون دائماً يعاملون كمخطئين

40- fuufu genka wa inu mo kuwanu يجب أن لا يتدخل المرء في المشاجرات التي تقع بين الأحبة

41- ichi wo kiite juu wo shiru العاقل يفهم بالكلمة عشر كلمات

42- ogoreru mono wa hisashikarazu الكبرياء يذهب قبل السقوط

43- mateba kairo no hiyori ari كل شيء يأتي للذي ينتظر

44- koketsu ni irazunba koji wo ezu لن تستطيع إمساك صغير النمر إذا لم تدخل عرينه ( بمعنى : إذا لم تكن جريئاً لن تحصل على شيء)

45- kyou wa kyou no kaze ga fuki, ashita wa ashita no kaze ga fuku اليوم، رياح اليوم تهب ، غداً، رياح الغد ستهب

46- gi wo mite sezaru wa yuuna kinari أن ترى الشيء الصحيح ولا تقدم عليه يعبر عن افتقارك للشجاعة

47- kaze wa manbyou no moto الزكام غالباً يؤدي إلى جميع أنواع الأمراض

48- kare ki mo yama noni giwai أي شيء هو أفضل من لا شيء

49- kahou wa nitemate نم وانتظر الأخبار الطيبة (بمعنى : لا تشغل بالك بما يحدث)

50- hito no kuchi ni to wa taterarenai أفواه الناس لا تغلق أبداً

51- issun saki wa yami لا أحد يستطيع أن يرى المستقبل

52- inochi atte no, mono da ne حيثما تكون هناك حياة، يكون هناك أمل

53- i no naka no kawazutaikai wo shirazu الضفدع الذي في البئر لا يعرف شيئاً عن المحيط

54- fukusui bon ni kaerazu الماء المسكوب لا يعود إلى القارورة

55- ichiji ga banji الشخص السيء يرى الكل مثله

56- bouzu nikukeriya kesa made nikui إذا كرهت الكائن ستكره الثوب الذي يرتديه

57- hito no furi mite waga furi naose خطأ شخصٍ ما هو درس لشخصٍ آخر

58- hi no nai tokoro ni kemuri wa tatazu ليس هناك دخان بدون نار

59- hito wa mikake ni yoranu mono إنك لا تستطيع أن تثق بمظاهر الأشخاص

60- ao wa ai yori idete ai yori ao shi التابع قد يتفوق على معلمه

61-akuji senri wo hashiru الأخبار السيئة تنتشر بسرعة

62-nen ni wa nen wo ireyo أضف حذراً إلى حذر

63-hajime yokereba subete yoshi إذا كانت البداية جيدة فكل شيء سيكون جيداً

64-ishibashi wo tataite wataru انظر قبل أن تقفز

65-iu wa yasuku okonau wa katashi القول سهل، الفعل صعب

66-baka ni tsukeru kusuri nashi ليس هناك دواء لعلاج الحماقة

67-mono wa tameshi لن تعرف أبداً إذا لم تجرب

68-mukashi no tsurugi, ima no nagatana دع الماضي يدفن موتاه

69-na wa tai wo arawasu الأسماء والطبائع غالباً ما تتفق

70-mago nimo ishou الريش الجميل يجعل الطائر جميلاً

71-rouma wa ichinichi ni shite narazu روما لم تبنى في يوم واحد

72-ryou yaku wa kuchi ni nigashi الدواء الأفضل يكون مراً

73-shiranu wa teishu bakari nari الجاهل الأخير الذي يبقى هو الزوج (الزوج آخر من يعلم)

74-gakumon ni oudou nashi ليس هناك طريق ملكي للتعلم

75- saigetsu hito wo matazu الوقت والفرص لا ينتظران أحد

76-tada yori takai mono wa nai لاشيء أغلى مما أعطي لنا

77-uwasa wo sureba kage تحدث عن الشيطان وسوف يظهر

78- usotsuki wa dorobou no hajimari الكذب يؤدي إلى السرقة

79-yowari me ni tatari me المصائب لا تأتي بمفردها

80-kuni yaburete, sanga ari البلاد تفنى ، وتبقى الجبال

81-ayamachitewa aratamuru ni habakaru kotonakare إذا أخطأت، لا تتردد في إصلاح الخطأ

82-warai wa hyaku yaku chou الضحك هو أفضل دواء

83-toudai moto kurashi الظلام موجود تحت الشمعة

84-sugitaru wa oyobazaru gotoshi القطرة الأخيرة تجعل الكأس يطفح

85-juuninto iro رجال كُثر، آراء كثيرة

86-shu ni majiwareba akaku naru لا تستطيع اللعب في الوحل دون أن تتسخ

87-rika ni kanmuri wo tadasazu امتنع عن فعل أي شيء يعرضك للشبهة

88-nokori mono niwa fuku ga aru البركة موجودة فيما تبقى

89-shunsho ikkoku, atai senkin قضاء نصف ساعة في ليلة من ليالي الربيع تستحق ألف قطعة ذهبية

90-koubou fude wo erabazu النجار السيء دائماً يلوم أدواته

91-neko ni koban كالذي يعطي قطعة نقدية للقط (بمعنى : لا تعطي الأشياء للأشخاص الذين لا يقدرونها)

92-baka mo ichi gei حتى الغبي يملك موهبة

93-yoku manabi, yoku asobe ادرس جيداً ، العب جيداً

94-shiranu ga hotoke الجهل نعمة

95-tsumi wo nikunde, hito wo nikumazu أبغِض الذنب، ولكن أشفِق على المذنب

96-tanki wa senki الغضب لا يفيدك شيئاً

97-binbou hima nashi الفقير ليس لديه وقت

98-saru mono wa hibi ni utoshi من غاب عن العين غاب عن القلب

99-shaka ni seppou ليس من الضروري أن تعلم السمكة السباحة

100-shippai wa seikou no moto 

الفشل يعلّم النجاح 101-kuchi wa wazawai no moto اللسان مصدرالمصائب

103-kyou wa hito no mi, asu wa wagami مصيبة الآخرين اليوم ربما تصيبنا فيالغد

104-koubou mo fude no ayamari حتى أشهر الخطاطين يخطئ في الخط

105-hito no uwasa mo nana juu go nichi الإشاعات تموت بعد خمسة وسبعين يوم (يقال هذاالمثل للتخفيف من صدمة الإشاعة …لكن فترة زوالها طويلة، خمسة وسبعين يوم؟)*_*

106-e ni kaita mochi wa taberarenai الرسام لا يستطيع أكل التفاحة التي رسمها

107-atsumono ni korite namasu wo fuku النار مفزعة أكثر لمن جرب حرقها

108-abuku sen wa mi ni tsukazu ما أتى بسهولة، يذهب بسهولة

109-itadaku mono wa natsu de mo kosode المعطف المحشو مقبول كهدية حتى في الصيف -horeta hareta wa touza no uchi الزمن ينسي الحب تدريجياً

111-inu mo arukeba bou ni ataru إذا تبحث عن المشاكل ستجدها

112-hiza tomo dangou استشر أي واحد، حتى ركبتيك

113-kane wa tenka no mawari mono النقود تدور حول العالم (نفس قولنا : الفلو تروح وتيي)

114-keikou to naru mo gyuugo to naru nakare أن تكون رأس كلب خير لك من أن تكون ذيل أسد

116-kokai saki ni tatazu الندم لا يأتي أولاً

117-naite kurasu mo issho, waratte kurasu moissho هي نفس الحياة إن قضيناها في البكاء أوالضحك

118-nou aru taka wa tsume wo kakusu الصقر الخبير يخفي مخالبه (بمعنى: الشخص الذي يعرف أكثر يتكلم أقل)

119-tayori no nai no wa yoi tayori عدم وجود أخبار هي أخبار طيبة

120-uso kara deta makoto حقائق كثيرة تخرج أثناء المزاح

121- لا تستطيع رؤية السماء كلها عبر عود خيزران مثل يقال عمن يحاول معرفة حقيقة أمر دون التقصي عنه أو التعب من أجل هدف ما.

122- اسقط سبع مرات، وانهض ثمانية مثل يقال عن ضرورة المحاولة مهما كانت الظروف صعبة.

123- حتى اللص يحتاج 10 سنوات ليتقن تجارته مثل يقال في ضرورة الخبرة والتجربة قبل اتقان المهن.

124- المعرفة بلا حكمة كمجموعة كتب على ظهر حمار مثل يقال عمن يستخدم العلم بشكل مجرد دون منطق أو حكمة أو أخلاق.

125- الاتجاه المعاكس له اتجاه معاكس أيضاً مثل يذكرنا بأن لكل رأي وجهتي نظر تختلف بين الناس.

126- اربح أعداءك دون أن تضحي بقوتك مثل يقال عن الذكاء في تحقيق النتائج التي تريدها في حياتك، أي العمل بذكاء لحصد أفضل النتائج بأقل مجهود.

127- عندما تموت عطشاً، فإن الوقت قد تأخر من أجل حفر بئر! مثل يقال على أن الندم وقت وقوع الكارثة لا ينفع.

128- العصفور الذي يطير خلف الصقر، يعتقد أن الصقر يهرب منه! مثل يقال لسوء تقدير الأمور نتيجة عدم المعرفة بحقيقتها والاطمئنان لرأئنا دون التحقق منه.

129- الرؤية مع العمل من أحلام اليقظة، العمل دون رؤية كوابيس! حلم عن أهمية التخطيط ومعرفة ما نريده في حياتنا.

130 - حتى القرود تسقط من الشجرة: مثل يقال عن إمكانية ارتكاب الخطأ من أي انسان كان.

131- الرجل الحكيم يسمع مرة ويفهم 10 مرات: أي أن الانسان يجب أن يفكر بالموضوع أكثر من مرة قبل أخذ العبرة أو القرار.

132- الماء المسكوب لن يعود للطبق: أي أن الفرص التي تفوت لا يمكن اللحاق بها.

3

Chiappa Rhino 200DS

Designed by Emilio Ghisoni - of the Mateba fame - and Antonio Cudazzo, manufactured by Chiappa Firearms in Brescia, Italy c.2009-today.
.357 Magnum, 9x19mm Parabellum/9x21mm, .40 S&W six-round fluted hexagonal cylinder, 6 o’clock firing 2″ barrel, Ergal aluminium alloy frame, external cocking lever with internal hammer, single and double action, nickel finish.

Pew pew.

anonymous asked:

Didn't some of those PPC shooters back in the day convert S&W revolvers to fire out of the lowest chamber? I seem to remember seeing that somewhere. Much simpler than a Rhino!

You’re probably thinking of the Mateba revolvers like this 2006m