In 1980, 28-year-old Californian, John Reed, left home to travel to Brazil in an attempt to discover the lost city of Akakor. It is said that Akakor is an ancient underground civilization that has remained undiscovered deep in the Amazonian jungle. Reed had read about this lost city in The Chronicle of Akakor, written by Karl Brugger. Brugger wrote this book after learning about the city from a Brazilian jungle tour guide by the name of Tatunca Nara, who is photographed above on the left. He had claimed that he was chief of the tribe 3,000 years ago. He lived in a village by the name of Barcelos and ran a business in which he led tourists into the jungle in an attempt to search for Akakor. Reed met up with Tatunca and went on one of his expeditions into the jungle. He left behind his plane ticket in his hotel room and never returned. Eventually, it was discovered that Tatunca Nara was actually a German man by the name of Gunther Hauck. He always declared that Reed had ran off in the jungle and he never saw him again, but it was revealed that Reed was not the only person to disappear on these expeditions - two other people went to the jungle with him and never returned. It was also revealed that Karl Brugger was shot dead in Rio in 1984. Authorities have always believed that Gunther Hauck was responsible for his murder and also the three disappearances but sadly there is not enough evidence for a conviction.

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So the discussion on the BSN right now is about a couple images Laidlaw posted online recently. The black and white image had no info, but the scene from the Stormcoast said “We’re hearing reports of Increased seismic activity around Thedas…” – so you know. DLC speculation abounds!

Anyhoot, I took to my trusty Photoshop and did a quick little analyzation of the b/w image. For tin foil hat fun. Solas helped!

Take this very seriously. These assertations are the result of DECADES of speculation and science. ;)

PS: the ‘border’ is actually more likely a result of the gradient in the original image, but shhhh… don’t tell Solas. He’s very excited.

The Happy Thieves (Original Title: The Oldest Confession) 

For this cover the concept was to show two art thieves, a man and a woman, in the process of stealing a painting. The painting would be shown in a forced perspective which allowed one side of the painting to be lined up exactly to the side of the cover. To achieve this effect, Avati first made a prop painting (Diego Velasquez ‘The toilet of Venus, ca 1650), stood it on the floor and photographed it in the proper perspective. Jane and a friend, Bill Convery, posed as the criminal couple. For years afterward, the prop painting remained hanging on Jim’s studio wall.

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NaLu AU: To Whom He Speaks, Part 6

A/N: HEY LOOK. THERE’S FINALLY ANGST IN THIS ANGST/MYSTERY STORY. HOW ABOUT THAT.

:D This chapter was fun to write. Enjoy the angst, guys!

Parts: 1, 2, 3, 45


Natsu ran straight past the tiny cabin to his shelter.

Perhaps he’d been running around too much this particular night, but he was extremely exhausted. He was ready to drop dead onto his rickety old bed again, even if it did smell funny and make a lot of noise when he moved around on it. He could look forward to getting some rest for the remainder of the day, and meet that Lucy girl back at the edge of the village again the following evening. The excitement of the night had completely worn him out.

He slowed to a jog, struggling to control his breathing, as he continued onward—and so many thoughts ran through his head as he did. So Grandpa Makarov had been the one who had told Lucy about this legend? It probably was, according to her words earlier. What exactly had he told her, though? He hadn’t seen him for a while now, but he figured that he must be pretty old by this point. Did he remember everything? What exactly would Lucy be able to figure out by going to ask him questions about that photograph if he hadn’t told her the first time?

All these thoughts flew through his mind, but he couldn’t really organize them in any shape or form—it was just too confusing. Lucy could probably figure something out. He didn’t want to think too hard about it; it made his head hurt.

He finally reached the familiar grove and wound through the brittle brush until he came out into a clearing, where his sleeping area was—a one-story wooden home, completely obscured from sight by the trees and bramble. It had been built specifically for him to live in in secrecy—at least, according to the unsigned note he’d found on the porch when he’d first discovered it, which was nearly five years ago. He still had no clue who had penned that note (or how this particular person had even known who he was), but he was grateful for the shelter. It had been much better than that toolshed of a building that he’d been forced to hole up in for years. The home was very heat-resistant—there were very few scorch marks anywhere in the house, no matter what he touched with his hands. He’d learned to stop questioning it about a few months after he’d moved in.

He entered through the front door, closing it carefully behind him, and meandered through the dark corridors until he reached his sleeping room. He promptly collapsed upon it, not even bothering to get undressed, and blankness clouded his mind as he fell into the comforts of unconsciousness almost immediately. He probably wouldn’t get all that much rest (sleep never came easily to him), but it was better than constantly staying awake.

As usual, his dreams were fitful.

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Pete, Charlie and Quinn (and possible dog character) are having my dream summer it seems! Camping out in the rain listening to old mystery dramas on the radio.                                           

The quote is from The Whistler, a radio mystery that I listen to when I go on long drives with my dad. 

Q: The medical and forensic issues in Speaking in Bones are detailed in so many areas, not just bones. Will you talk about that?

A: I use a lot of medical details. I work closely with pathologists, so when I have a question, I direct it to the appropriate expert. I don’t want every book to be driven only by bones. I try to bring different kinds of forensic science into each story–whether it’s blood spatter pattern analysis, gunshot wounds, trajectory analysis, toxicology, or DNA analysis. I double check all those facts to make sure I’m getting them right.

Q: So the takeaway is: rely on experts in areas beyond your own expertise.

A: Exactly. Those are the only parts of my manuscript I let anyone read before submitting it to my editor. For instance, I’ll have a forensic odontologist review two paragraphs in the manuscript dealing with bite mark analysis, to make sure I got it right.