Wundervölker, Monstrosität und Hässlichkeit im Mittelalter (German Edition)

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Too bad. Teenage Dean was crying in that scene, crying openly. Tears pouring down his face. But we can guess. Those tears would have been gone by the time he opened that car door. Dean is smart to hide that stuff. His survival techniques saved his ass. Will he be judged? I love the shot. I love that Singer chose to stay on Dean and not cut to Gordon. Gordon gives Dean a little pep-talk saying the hole inside him will help him do his job. Gordon is a hall of mirrors. Everyone in the vampire episodes are mirrors. I mean, honestly, the show could conceivably go on forever.

It does not live or die on its climax moments or its plot points. This is some subtle complex shit. Here is our beloved Ellen, behind the bar, answering the phone. We then see Sam, back at the Adobe Court, sitting in the dark room. Bobby becomes so much a part of their lives that it feels like they call him 20 times a day, to ask for advice, to ask him to look something up, to talk about their feelings. It is an energy rarely seen or felt in Supernatural. Let him work the job alone, go your separate ways.

Dean and Gordon are in the process of closing the bar. You just listen to him. At least that was my experience the first time watching. It is only on multiple watchings that I really notice the writers and creators putting into his mouth their main concerns with the entire series, and where they will be interested in exploring. He has his reasons, just like everyone else does. And what he is saying is part of the cathartic appeal of the show itself: seeing these clearly good guys fighting evil is attractive, affirming, it makes us feel good. We have to examine the source.

The man cannot speak without sounding like a badly-written Hallmark card. Polonius speaks in platitudes ONLY. Gordon likes the life because right and wrong are clear. You kill something that is evil, you know what you are doing is right. Grey areas do not matter in hunting. Dean is not philosophical about hunting. Why would he? You can also see how the hunter lifestyle would appeal to psychopaths, people who enjoy violence.

It gives you permission. And watch Dean listening. NO, says every fiber of his being, and you can see him look at Gordon like that, the peace between them broken a little bit. Just different. But me and my brother are gonna be heading off now. It shows how disoriented he is that he lets a comment like that slide, that he has let Gordon in this far.

It makes us do crazy things. We were born to do this. And you can see all of that in the gigantic closeup of Dean that follows. Dean thinks his life sucks and his life DOES suck. What is it with Supernatural and vending machines. I should edit all of their appearances together. Norman Rockwell in the middle of a monster movie. Also, that camera angle makes me deeply uneasy. So does the one following, where the camera peeks out from behind a nearby wall, staring at Sam.

As he walks back to the room he is stalked from every possible angle. Behind cars. Across the lot. I am picturing Singer and his crew racing around the parking lot repeatedly, different set-ups, and Padalecki having to have to keep walking over the same patch of pavement to get that weird stalking effect.

Sam himself gets spooked. Sam is jumped by two guys. He gets in a couple of good punches but then one whales him on the back of the head with a rotary phone and Sammy goes down. When the scene fades back in we see Sam sitting there, wherever he is, with a hood over his head, tied to a chair. Sam is completely freaked out, a gag around his mouth, and trying to understand where he is, what has happened, and why that bartender is here. Then, Eli opens his mouth, and fangs descend. A woman stands at the door. She is Amber Benson, the wonderful actress that people will remember from Buffy , a nice little vampire-nod.

And she plays her part with a beautiful simplicity that makes it impossible not to consider what she is saying and places her in the starkest of contrasts with black-and-white Gordon. Dean has to look at her being tortured and his conscience has to start operating again. The same way it would operate if he saw an animal being tortured. Or, hell, a fellow human. Just because she is not human does not mean that torturing her is right. We really really need to GET that, the rest of the season depends on it. So she was clearly the right actress for the role.

It had a huge influence on German Romanticism and also a huge influence on Bram Stoker. Bram Stoker quoted a line from it in Dracula. She goes with him, he tells her he is taking her to their marriage bed. They gallop away.

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And where does he take her? To a cemetery. And the bars were broken and bent; The doors were burst with a deafening knell, And over the white graves they dashed pell mell: The tombs around looked grassy and grim, As they glimmered and glanced in the moonlight dim. Dropped off like brittle tinder! Fleshless and hairless, a naked skull, The sight of his weird head was horrible; The lifelike mask was there no more. And a scythe and a sandglass the skeleton bore.

Just to take this association a little bit farther: In the poem, Lenore is tricked by a double to follow him. It is only when they are at their final destination that he reveals himself for who he is. He believes in Gordon, and believes that Gordon is like him. Escape, validation, understanding. Lenore comes into the room and Eli subsides, resentfully. Sam is aggressive and pissed, and she meets that with calm reasonableness, the same way Gordon does, and it has a similar disorienting effect.

Is this just a line?


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Why should I trust a word she says? Also, her goons knocked me on the back of the head. She has kidnapped him to plead her case. They do not kill people. They kill animals hence the cattle mutilations. They are leaving this town tonight. Sam is very verbal, and very pissed. She explains to him that she will prove that they are different from the others. She is going to let him go. Without a scratch on him. The art direction and cinematography of this scene is achingly romantic: dark, with blue light through the blinds, and a dim lamp lit in the corner.

This is a makeshift home. Identical to the abandoned homes Sam and Dean sometimes squat in. They are looking for the nest. They now appear to be working together, or at least Dean assumes so. His sleepy gesture. Brown is great. Sam then enters, and sees Gordon sitting there.

The three men all stare at each other for a long moment. Nobody speaks. Or a jealous wife catching her husband with another woman. Or man. Or whatever. Sam asks Dean if they can talk privately. And here comes a fanTAStic scene, an argument scene that has literally everything in it. It has an argument about the vampires and the case they are working. It has an ideological struggle between Sam and Dean, between black-and-white thinking and grey-area thinking. It has Gordon in it. And here, they go further into that landscape, a treacherous one.

Dean is vulnerable. Not nicely or gently, but desperate times call for desperate measures. Is the world conspiring against me? People get MAD when I get happy? Dean goes into lock-down. We find them and we waste them. When Dean calls up Gordon as an expert witness to back up his argument, Sam goes right to it. How long have you known this guy? As fights often go, Sam busts out the Mean, before he can even stop it. You can see it happen. It is so often how fights happen, right? I love the gear-shift we see in Padalecki around this time in the scene. Something else starts rising.

Bitter angry old stuff. Family stuff. Dean being un-reachable in many ways makes it worse. With no preamble, he rips down the veil. No wonder Dean punches him in the face. And a poor one. Dean is blindsided, starts laughing and walks away. He has to walk away. Not on his best day. Truthful, but ouch. If they stopped fighting right here and now, nobody would get punched. But of course it keeps going, even as Dean is trying to extricate himself. The Gordon thing has GOT to be handled, addressed. That, that right there, is going too far. Dean has an electric inward-looking response, nodding quickly to himself, starting to turn away, but only so he can get the distance he needs to punch Sam in the face.

Padalecki reeling back, the way he cries out, it all looks totally real. These guys are so good at stage-combat stuff. Sam had that one coming. But Sam is also right, in this particular case. A specific KIND of brother relationship between two very specific men. Men who have punched each other before.

Men who are not unfamiliar with being punched and punching.

Gladiators

Tough Guys, in other words. It comes up in the final scene as well. These guys are violent guys. And sometimes they turn it on each other. Then they move on, black eyes, cut lips, no hard feelings. While the fight has opened up new ground, they are still at the same impasse. Gordon has obviously gone to find the nest. After all that, after being punched, he sticks to his guns. These are some pretty opinionated people. He is not afraid of his brother. Well, he is a little bit afraid, but not that much.

She deserves to have a key in her ignition, not her wires sparked together like every other car they steal. Sam sits in the passenger seat. The following small scene, as Sam describes what he remembers from that drive, is one of those beautiful moments when you see how extraordinary these two guys are. One of the things that the writers of this show do so well, for the most part, is modulate the emotional experience of a really really intimate relationship.

If it were climax-climax-climax constantly, everyone would get worn out. Sam is looking at the map, and trying to figure out where the hell he was taken. He knows they went over a wooden bridge. He knows the turns. They went left, they went right. They were on the road for 4 and a half minutes after such and such. Even Dean looks taken aback. Imagine filming these scenes out of sequence. Imagine how carefully these actors track every emotional up-and-down through the episode, so they can tap into it, regardless of where they are chronologically.

This may have been the first scene they shot. Or maybe the last scene over the Impala was the first scene they shot. Who knows. All I know is, these guys have to keep track of that stuff. And in the small wary scene in the car you can feel the weight of that fight between them, and the Gordon moments that came before. They argue, just like Sam and Dean just argued. It is both practical and ideological. Eli wants to stay and fight the three hunters. Lenore is firm. We kill them. So you see how interesting all of this is.

Vampires are talking about the stars of the show. The heroes. But the script is calling into question the lifestyle of our heroes, and their mindset. Perhaps this could only happen once John was dead, although you could see elements of it cropping up from time to time through Season 1. But here is the real grappling, the real psychological and philosophical dilemma. A convergence. Dean glances over at his brother for a long while, then turns back to the road. Sam glances up, and looks over at Dean for a long while as well. Imagine how much you would miss such a moment if it were not there.

And think of the subtlety such a wordless moment brings. Sam, in particular, looks very worried. She was made to be filmed at night, by a cinematographer like Serge Ladouceur who knows how to do it. She is jumped by Gordon, who holds a knife to her throat. The framing is beautiful, her paleness, his dark skin, creating a stunning effect. They look gorgeous together onscreen. In one of the most chilling moments in the series thus far, Gordon holds out the knife, dripping with blood, and plunges it into her torso.

We hear the squishy sound of it going in and see her collapse. Or burn up some bones. And nice hair. Even with Luther and Kate, and their ghoulish biker-bar strange-ness, they were recognizably human, and their love for one another was real. Yes, you must hunt and kill evil things. You have to approach your job with an appropriate sense of humility and sorrow. The Geneva Convention was created because human nature is understood to not be trustworthy during wartime.

To show restraint in HOW you kill is what Sam is asking for, at least. He saw how slowly Dean lowered that saw in order to prolong the agony. He does not want to see Dean go down that road. That is the road that Gordon beckons from. If you dehumanize your enemy, then it is easy to justify whatever you want to do to them. No establishing shot, not yet. We see the knife, dripping blood, being turned this way and that, and Gordon looking at it. Then we see Lenore, and the change that has been brought about since we last saw her two seconds ago is heart-rending.

She is drenched in sweat, her eyes having lost focus, rolling back, blood dripping from her nose, her throat. She is clearly in distress and Gordon is clearly drawing it out. He delicately dips the knife in the blood, and draws it across her chest slowly. But here we see what hunting has done to Gordon. Who he has become. And think about Season 9 and what was revealed and had been revealed before, all along the way. These guys have been shattered by the lives they have lived, and the accumulation of horrible shit. Sam has picked up the pieces. He is somewhat broken but he has also found some peace in how he lives and what he is doing.

Dean, on the other hand, has been ruined. He held on as long as he could. He really did. There are a lot of reasons why I am in love with Supernatural , but one of the main ones is the sense you get, especially in re-watching, of the cumulative effects of their lifestyle — of how finally … they both get tapped OUT. No more. Their movements are tentative when they see what is happening. Whatever reservations Dean may have had, whatever he felt about vampires in general … what he sees before him makes him stop.

However, in this moment, as an observer, he can now see what that might look like. He can now see the danger of it, the ugliness of it. Instead of charging forward to stop the torture, both Sam and Dean stop, realizing they are in the presence of an extremely volatile man. You can see Dean feel a little bit sick at the offer. Oh, Gordon. You do not want to go up against the Winchester brothers when they are in sync. Because suddenly, magically, they are in sync. It seems to happen the second they both walk into that room.

When Sam moves forward to stop it, Gordon holds a knife on him. Dean is gentle, like a hostage negotiator, not making any sudden moves, moving slowly into the room, trying to defuse the situation. But he does not realize what he is dealing with. He has misunderstood. Gordon laughs a little bit and Brown plays the entire thing from a place of total iron-clad reason and it is why the performance is so effective. And Gordon hunted her down and killed her himself. I was swept up in the moment. But now? The memory of that whisper, and how Gordon is basically echoing what Dean will have to face.

As Gordon tells the story of his sister, the camera stays on Dean. Gordon has a knife on Sam. Yeah, Sam is different. But now … now all of that is seen through a different prism. Fuck everyone who tries to come between him and his brother. It looked entirely different once I had seen more of the season. In that shot, we see where we are going to go. We see him start thinking again.

Just as quickly, Dean has his gun out, pointing it at Gordon. He just wants to show them something about this supposedly nice vampire. Amber Benson has done her job. Because I look at that terrifying creature and I ache for her. Not an easy feat. Gordon keeps his eyes on Dean the whole time. Dean is so uncomfortable at what is going on. He is uncomfortable because of Gordon, he is uncomfortable because he is looking at Lenore in pain and has feelings for her. His whole world is falling apart. Everything he knows … shifting.

But everything has become clear to him now. Clear as in: Grey Area clear. No, this situation is NOT black-and-white. There are exceptions, there is context to consider. And get your fucking hands off my brother. Now this, this is something new for Dean. He has now watched a monster fight its own destiny. There it is, right in front of him. Sam scoops Lenore up in his arms and leaves the room, leaving Gordon and Dean alone. Not self-conscious. Not making a point of the beauty, but just presenting it in a way that seems inevitable and right.

He takes the clip out of his gun, so now, okay? We okay now? The second Dean relaxes, Gordon grabs his knife again and is on him. You just tricked me into dis-arming? I love it. The fight that follows is brutal. Dean is un-armed, Gordon has a knife. I hurt him. On purpose. Yes, he withheld information from me, but I went for the jugular in response. Not normally my M. Not my finest hour. I had allowed myself to get swept away.

But in that first moment of realizing I had been tricked? When one feels like one is tricked, horrible stuff can come out. Pound of flesh. Faulty Radar Story 2 Over. Both actors are brilliant, physically. Creating a fight like this takes trust and expertise. Dean is pushed backward, where he crashes down into a table, putting him at a disadvantage and giving Gordon time to re-group.

Like me. The sounds of the punches are Mike Tyson-level brutal. Gordon goes into a glass cabinet. Dean gets the upper hand, and you can feel things shift for him. Gordon is his now. If a teacher were there, she would have pulled Gordon and Dean apart and sent them to separate corners. Neither of them can play fair, not with each other. They are Mirror Images. They are practically merged. And so you want to destroy that mirror.

It MUST be destroyed. Part of what happens when you destroy that mirror is that you are destroying the part of yourself that saw the reflection and recognized it and loved it. No, no, no, that is not me, no, no. Alpha Dog. He had to get that status back, just to be able to live with himself.

What the hell just happened to him over the last two days with Gordon? He will shiver with revulsion when he thinks back on it.

But in those words to Gordon, you can also hear the philosophical ideas that have started to play out since the premiere of Season 2: The role of destiny in our lives. How we feel about destiny and how we interact with it or the concept of it is important. We get to choose our own way. So yeah, maybe he saw himself in Gordon, and Gordon reflected something back to him, something that was truthful and something that Dean wanted to hear.

But he gets to choose. Gordon, still tied up, sits in the chair, looking inward, impenetrable. There is nothing on his face. One of the things we will learn about Gordon is that he has a gold medal in patience at an Olympic level of the sport. He does not rush. He does not panic. It is why probably he is such a good vampire tracker. He is able to wait. And so he sits there. And he waits.

But make no mistake, Dean and Sam have made an enemy for life, and he will return again and again. He always brings awesome things with him. Difficult things. Moral dilemmas. Dean paces around Gordon, waiting for Sam to return. I guess Sam had to organize the vampire evacuation. The adrenaline of the fight is gone. He hurts everywhere now. Sam returns. The only thing in Gordon that moves are his eyes. And they are murderous. If Sam and Dean left the room at that moment, we might have a nice comfy feeling that right has won the day over wrong.

But Gamble et al push that envelope. It needs to be pushed. Sam wants to leave but Dean says quietly, not yet. Dean is enjoying himself. And Gordon is tied up. Gordon is no longer a foe to be feared. He has been vanquished. For the moment. Totally unfair. It HAS to be. Gordon tortured Lenore while she was tied up. And Dean is being a sore winner. The beauty is as disorienting as the episode itself.

Ah, let us mourn the beauty of Supernatural , at least as it was in these early seasons. Dean and Sam exit the house. Sam is tall and strong and un-marked. Well, he has a tourniquet on his arm where Gordon cut him. But other than that, he looks strong and perfect.

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Dean, on the other hand, is a wreck. Look at how the pendulum has swung. So the only thing he can do, to make things right, because he knows he deserves it, is to ask Sam to take a swing at him. Clock me one. A freebie. And Sam stares at his brother, and laughs. Letting Sam hit him would make Dean feel better. I may be nuts but I understand that reaction. Hurt me, just to even the scales. Then we can move on.

He gets SO much pleasure from the simple things, the cars, the food, the drinks, the sex, the music … but what is happening now is way too big to be combatted with the Impala or anything else. He misses being happy, like, two days ago. Dean hates monsters. He hates them. Instability allows the grey areas to exist. Talk about Destiny. Dean is used to sticking up for Dad, toeing the party line, defending Dad, all that … and when Sam slowly starts to change as people do in life, especially post-death — you start to see other things come into play — it leaves Dean swinging in the wind, alone, without anything to do.

He and his father had a very specific relationship, twisted and dark, and it has left him vulnerable to predators like Gordon. If Sam rants and raves about how Dad was an asshole, then Dean will automatically have to stick up for Dad. You have to really know your shit, story-wise and psychology-wise, to be able to capture these tiny and yet huge ebbs and flows. But the moment is starting to be over. Thank You, Sam. He takes that breath, takes that moment. Dean got lost in Gordon. Sam helped pull him out of it. Sam gave a shit enough to fight with him about it, to not fucking abandon him when he obviously needed him, to even take a punch from him and still keep trying to get through to him.

The entire time Dean felt like Sam was being a pain in the ass but what it actually meant was that Sam gives a shit. Sam is not a sore winner. He is gentle. This is what family does for each other. I got your back. The episode could have ended with Dean following Sam into the car then and there, and driving off.

They had a nice talk. They learned. They grew. Dean looks back at the house, where Gordon remains tied up. Dean looks back. The rising sun cuts an arc across his face, fracturing the image a little bit, looping around him, a lens flare, done perfectly. The camera moves in and in and in, past the lens flare, into a deep and intense closeup, with Dean in an unblinking stare.

The camera captures thought.

The open moment is over. His inner life is his own again. We are allowed just a glimpse. Dean then gets in the car, and the Impala roars off down the dirt road, into the sunrise, clouds of dust rising up behind it. There is no music. None whatsoever. No musical cue to tell us how to feel. Not the Winchester-emotional-theme, not the hot-shot sexy Supernatural theme, nothing: just the roar of the engine from the beloved car that started the whole episode, and the grind of the tires in the dirt. One of my favorite shots of Dean, he is positively unearthly in his beauty.

Thank you so much for this marvelous look at one of the most important episodes. Lots of character in this one. Not a second of chaff. I thought that when I watched this ep for the first time they were comparing John and Gordon. I know from further viewing that it was Dean and you covered how and why so well.

Gordon really managed to piss Dean off royally. He waited to do it once Sam was back safely. I think he thought about what he would do when Sam got back and did just enough to make himself feel better. I see you have been busy and I have lots of catching up to do. Thank you. Who is Dean supposed to be without a mirror reflecting him back? Brown obviously knocked it out of the park with his performance — and so each time he returns he brings with him the weight of what he set up in this first episode.

I miss Gordon. Gordon always provides an opportunity for moral dilemmas, ethical considerations — and a chance for the show to actually question itself. I love that, yes! I still think, though, that Dean is walking that line. Enjoying himself. God, such a lot in this episode, which you cover in such forensic detail that all I can say is bravo and shower you with bouquets. I love your analysis of the Gordon Dean seduction scene. But he has offered Dean a plausible version of events which he can cling on to in his current, flailing emotional state.

Like, let Dean choose his own words, please! Gives him words. I love that line from Middlemarch. We were just talking about George Eliot the other day on Facebook. So what do we think about why Gordon targets Dean like this? When he is such a lone wolf? I could see other hunters getting drawn into that mind-fuck as well — because he is so articulate, and so soothing about the nastier elements of the job.

But people like Ellen and her husband tried to compartmentalize — compartmentalizing seems to be the most important thing. I guess we all yearn for mirrors. Maybe partly because Dean fixes on him? Why do Dean and Sam pursue Gordon to that warehouse? Partly because as a professional hunter he understands he has to be seen as someone who plays the game, buys a guy a beer in return for a good turn, that sort of thing.

Or maybe Ellen has it right. Any conflicting emotions he has ever felt have been subsumed into his monochrome ideology and his self-image as a person performing a purely rational act — which happens to be killing. All theories welcome. Gordon is an endless topic of conversation. Also: you can tell that Gordon idolized John Winchester.

He seems pleased to meet the sons, who already have a good reputation. So co-opting Dean may be a little bit of payback for that. Watch how I play him. He plays that dynamic so well. He is totally at home in his own skin, in any given moment — that certainty again — and Dean, as we know, is really not. Gordon is extremely gentle and compelling. It ups the stakes. Singer was no dummy. Sam is kind of aware he has been compromised, at this moment — he has those visions.

God I love the look of season two. The show really suffers and in unexpected ways, too. When you go all bright you really lose a tool from your toolbox. I just watched the Purge again the other night and I would have loved it if all the difficult emotional stuff was less vivid; thematically appropriate for those conversations, yes, but also it would have really wowed when they hit Minnesota for the bubbly sheriff and the spa. It would have really driven home how out of place they were, how crazy the spa was.

And so we the audience can see that sickle blade. But mostly so he can whip out his…. And so is Dean, that little smirk. But oh, yes! Sam is so impressive in this episode, doubling down on the firmness and solidity when he senses all this awful stuff happening with Dean. At the start of the episode he goes kind of high and incredulous and little brother-y.

His voice and demeanour as he takes his leave from the bar, my goooood. SKB is so, so gorgeous, and yet when Gordon smiles or looks in any way content the world shakes in terror and my uterus tries to crawl up my throat. God, how great would it have been to see Gordon and John interact? Fight scenes that make character sense. Hell yeah!

I like that. And look how much mileage the show is still getting out of that. That really becomes explicit once Sam knows about the demon blood. I would have loved to be a fly on the wall. I bet John would have gotten a creepy-crawly sense and backed away slowly, but I may be missing some nuances. I LOVE that brief moment you call out in the fight. The Purge is soooooo dark, emotionally — that last scene … and yes, without the moody darkness you are just denying yourself so much rich-ness and context — things that help you tell the story. Let me whip out mine so you can see how HUGE it is.

It takes some balls to resist. I love Sam. The whole horrible show is because Sam is there and not playing nice. And then of course the way Gordon eventually dies. I mean, wow. And I think Dean wins on that one. Forget the case — turn tail and run! Maybe they see that as a challenge? I was fascinated by them when I was a kid. Are they cars? Are they trucks? Cars with truck beds? Who does that?

For you to say you have a harder time with Gordon than you do with John is an amazing testament to the weird queasy awful power Gordon has. And how susceptible Dean is to it. As beautiful as the episode is, it took me a half hour to get past the Steve McQueen clip. Cars on the road.. A car, a ship, a sword, a gun, an X-wing fighter: somehow we I?

You know, I think Gordon just starts out talking to the Winchesters as strategy. And then I think he takes an honest liking to Dean and feels betrayed himself at the end. And he withheld that from Dean until he thought it might help him. Everytime there is a jungle gym next to it sometimes even two you can basicalyl concede if the survivor know what they are doing. I like those arguments. Most killers don't know how to chase correctly, just like most survivors don't know how to loop correctly.

All the time huh? Are you sure about that? Sounds to me like you need your intelligence to be insulted if you actually believe that. I'm done arguing with you… no point in it. I am pretty sure, you know better, but you would never admit it to keep pushing your agenda. But I will keep speaking up if you spit more nonsense. Just feel free to ignore my postings, because I don't talk to you, but to those reading your crap and I try to prevent them from believing your fairy tales. I suck at looping and I do indeed know where at rank 1 all the good looping spots are but i don't abuse them either.

I'll try and loop x if needed to break los if i can then try and sneak off and evade. But most of the time at rank 1 the killer either gets me on the loop spot or hopefully thinks I've got godlike Dwight looping skills and gives up. There's some people at rank 1 I know no matter what name they play at are godlike loopers and a lot of the killers do as well.

But even then they'll still go after them because half the time they'll gt them they've versed them for so long. For the most part if you need BL3 to end a chase you're just being a bad killer since it's very rare for most to ever get to bl2 in chase. It's not crap, it's just that the majority of people complaining about such things as nerfs to bloodlust, are the people who don't want to learn new things or play better, or have been convinced they can't.

Sure, there are many issues, but not as much as people here would have you believe. Against a good group on a bad map, I'll take the loss, but it's so few and far between it doesn't matter. Toggle navigation. Sign In. Home Discussions.

Bloodlust Nerfed: The Creation of More Infinites

Eninya Member Posts: September in Balance Feedback. One of the most baffling balance decisions I've ever seen was the nerf to Bloodlust when most major window loops were specifically designed around the killers: a. Wolf74 Member Posts: 2, September SnakeSound Member Posts: 1, The nerf was a good thing, as no killer should be rewarded for bad plays with a speed boost. Jack Member Posts: 3, DemonDaddy Member Posts: 1, I don't mind the changes, but I do think the Dev's should have made the changes vary based on killer's speed and powers.

It impacted killers like huntress and hag far more than others. DeadByFlashlight Member Posts: 1, Williamz Member Posts: Doomsaki Member Posts: The entity window blocker needs to be more generous and longer lasting. DexyIV Member Posts: I never will understand why the bloodlust nerf was a thing. September edited September Williamz said: powerbats said: Williamz said: A lot of borderline infinites usually involve buildings with windows.

Wolf74 said: only1biggs said: The nerf was a good thing, as no killer should be rewarded for bad plays with a speed boost. DexyIV said: only1biggs said: The nerf was a good thing, as no killer should be rewarded for bad plays with a speed boost. Eninya said: only1biggs said: Wolf74 said: only1biggs said: The nerf was a good thing, as no killer should be rewarded for bad plays with a speed boost.