71. 1946-47 montiel los reyes del deporte #58 joe dimaggio. from a 180-card cuban set, this 2 1 8" card is about as rare as snow in downtown havana. it features a black & white photo of dimaggio surrounded by an ornate orange border. vg + . 0 and online trading card games.
Having a noticeably jagged edge. one natural idea is to take more samples per screen grid cell and blending these in some fashion. such methods are called supersampling techniques. higher sampling rate can be implemented in three ways. the simplest version is to render at a higher resolution and then combining neighbouring samples to create an image. a related method is the use of an accumulation buffer. this buffer has the same resolution as the intended image and multiple images are generated and summed up in it. after rendering, the images is averaged and sent to the display. the additional costs of having to render the scene multiple times per frame and move the result to the screen makes this algorithm costly for real-time rendering systems. the third method is the a-buffer, sometimes called multisampling. this is used commonly in software to create high-quality renderings, but at non-interactive speeds. supersampling is used by calculating a polygon's approximate coverage of each grid cell. polygons are sent to the a-buffer to create coverage masks or each screen grid cell it fully or partially covers. pixel colour is computed by determining how much of the mask of each fragment is visible, and then multiplying this percentage by the colour of the fragment and summing the result. there are some problems with this method, like the limited size of the coverage mask, the use of a box filter simply adding samples regardless of position ; , and the lack of gamma correction. another sampling-related antialiasing approach is to distribute the samples randomly over the pixel, called stochastic sampling. this works better because the randomisation tends to replace the aliasing effects by noise, to which the human perception is much more forgiving. the most common of these techniques is jittering. in this, the pixel is divided into regions of equal area and in each area, a random location to sample from is chosen. unfortunately, stochastic sampling is not practicable in real-time systems. there are other methods, such as edge and full-scene antialiasing, each with their own problems. in general, the a-buffer algorithm seems to be the most promising see [90] on hardware implementations of this algorithm ; . yet, the t-buffer introduced by 3dfx seems to be more an advanced version of the accumulation buffer. therefore, this algorithm should also not be passed by as a potential future real-time antialiasing technique. in a movie, when objects move across the screen there is motion blur. this is a subjective process, if a camera is tracking an object, the object does not blur, but the background does. motion blur is usually added to computer graphics for the same reason lens flares are added: to give a psychological cue to the user. to add to the feeling of motion, the blur may be overemphasised. on of the ways to accomplish motion blur is by modelling and rendering the blur itself. in fact, this is why lines are drawn to represent particles see section 2.4 ; . this idea can be extended by adding polygons to objects. with the use of transparency opaque where the polygon meets the object and transparent on the other end ; polygons can be used to represent the direction of movement of the blur. an example of this would be adding such polygons to a sword slicing in front of the viewer. another way to achieve motion blur is by the use of the accumulation buffer. the object is moved to some set of the positions it occupies and it is rendered into the accumulation buffer. the result gives the blurred image. this process is counterproductive for real-time rendering. a clever way to use an accumulation buffer is by keeping it from frame to frame. then render the current model each frame, but also the model a set number of frames back. this last rendering is subtracted, instead of added, from the accumulation buffer. this way, only two renders are needed each frame to create the blur effect. another application of the accumulation buffer is depth of field. depth of field is the effect where objects at a certain range are in focus and objects outside this range appear blurry, the further outside the blurrier. with the accumulation buffer this effect can be simulated be varying the view slightly, while keeping the point of focus fixed. in this manner, objects will be rendered blurrier relative to their distance from this focal point. the real world is not an in-focus, square grid, motionless affair, so real-time computer graphics should not be either. the techniques discussed above can help to achieve this. interesting to note is that for all three techniques accumulation buffers can be used. indeed, such a versatile technique does indeed seem to have a future, specifically since 3dfx' t-buffer technology seems to be a more advanced version of it. do not forget other techniques, though. the a-buffer seems to be a very good technique for real-time antialiasing and adding transparent polygons for motion blur produces some spectacular, yet simple, effects. even depth of field might have other techniques, which require less rendering, to produce the effect. until more hardware starts supporting the t-buffer, it will only be a temporary phenomenon. A 1951 bowman partial set 203 324 ; including mantle and mays rookies went for , 246; a 1937 v300 o-pee-chee complete set 40 ; went for , 246; an 1888 n162 goodwin "champions" partial set 22 50 ; sold for , 246; a 1961 topps complete set 587 ; sold for , 815; a 1952-1959 topps high quality collection 275 ; went for , 815; a 1963 topps complete set 576 ; commanded , 815; a 1909-11 t206 white border cincinnati reds graded collection 140 ; went for , 194; a 1955 topps complete set 206 ; realized a final price of , 194; a 1957 topps near set 406 407 ; went for , 194; a 1954 topps complete set 250 ; sold for , 194; a 1951 and 1952 bowman collection 429 ; including 41 psagraded cards sold for , 630; a 1949 bowman complete set 240 ; went for , 630; a 1951 bowman complete set 324 ; commanded , 630; a 1953 topps complete set 274 ; sold for , 630; a 1951 bowman partial set 234 324 ; including mickey mantle rookie card realized a final price of , 118; a 1952 topps collection 406 ; including 17 high numbers went for , 118; a 1956 topps complete set 340 ; realized a final price of , 118; a 1950s bowman and topps card collection 400 ; including many hall of famers sold for , 118; a 1949-1955 bowman collection 1, 362 ; went for , 652; a 19571959 topps collection 540 ; sold for , 652; a 1953 topps complete low middle series complete run 220 ; went for , 652; a 1965 topps complete set 598 ; sold for , 652; a 1933-1979 superstars and hall of famers collection 136 ; including psa nm 7 rose rookie and 34 mantles went for , 652; a 1954 topps complete set 250 ; went for , 652; a 1955 topps complete set 206 ; commanded , 652; a 1950 v362 world wide gum "big league stars" 48 ; went for , 229; a 1950 v362 world wide gum "big league stars" 48 ; sold for , 229; a 1954-1956 topps collection 425 ; realized a final price of , 229; and a 1955 topps complete set 206 ; went for , 229 and bingo game cards.

Splice splice is a static ability that functions while a card is in your hand. "splice onto [type or subtype] [cost]" means "you may reveal this card from your hand as you play a [type or subtype] spell. if you do, copy this card's text box onto that spell and pay [cost] as an additional cost to play that spell." paying a card's splice cost follows the rules for paying additional costs in rules 409.1b and 409.1fh. you can't choose to use a splice ability if you can't make the required choices targets, etc. ; for that card's instructions. you can't splice any one card onto the same spell more than once. if you're splicing more than one card onto a spell, reveal them all at once and choose the order in which their instructions will be followed. the instructions on the main spell have to be followed first. the spell has the characteristics of the main spell, plus the text boxes of each of the spliced cards. the spell doesn't gain any other characteristics name, mana cost, color, supertypes, types, subtypes, etc. ; of the spliced cards. text copied onto the spell that refers to a card by name refers to the spell on the stack, not the card from which the text was copied. choose targets for the added text normally see rule 409.1c ; . note that a spell with one or more targets will be countered if all of its targets are illegal on resolution. the spell loses any splice changes once it leaves the stack for example, when it's countered, it's removed from the game, or it resolves ; . split cards split cards have two card faces on a single card. the back of a split card is the normal, full-size magic card back. split cards have two sets of characteristics two names, two mana costs, and so on ; and two converted mana costs. they always have both sets, except when they're spells on the stack. when you play a split card, you announce which side you're playing. while it's on the stack, the other side is ignored completely. see rule 505, "split cards." if a split card's two mana costs have different colors of mana in them, it's a multicolored card while it's not on the stack. a split card is a multicolored card on the stack only if the half that's been played is multicolored. if an effect tells you to name a card, you must name all of a split card's names. an effect that asks for a split card's characteristic while it's in a zone other than the stack gets both answers. an effect that performs a positive comparison or a relative comparison involving characteristics of one or more split cards in any zone other than the stack gets only one answer. this answer is "yes" if either side of those split cards would return a "yes" answer if compared individually. an effect that performs a negative comparison involving characteristics of one or more split cards in any zone other than the stack also gets only one answer. this answer is "yes" if performing the comparable positive comparison would return a "no" answer. split second split second is a static ability that functions only while the spell with split second is on the stack. "split second" means "as long as this spell is on the stack, players can't play other spells or abilities that aren't mana abilities." see rule 502.58, "split second." stack a spell or ability goes on top of the stack when it's played or put onto the stack. combat-damage assignments also go on top of the stack as though they were a single object. whenever all players pass in succession, the spell, ability, or combat damage on top of the stack resolves and the active player receives priority again. see rule 217.6, "stack, " and rule 408.1, "timing, priority, and the stack." state-based effects state-based effects continually "watch" the game for a particular state. whenever a player would receive priority, state-based effects are checked and applied. see rule 420, "state-based effects. Hits, '" quips caldwell. "i'll have to call tim hawthorne and get on that." in addition to being well-adapted to change and able to carry a tune, caldwell also has striking good looks and is a performer by nature. combining the two he broke into television commercials. in the fall of 1981 he got the call that validated his goals: a talk show on the abc affiliate in boston wanted him to audition for their show, which aired right after good morning america. the station reviewed his taped audition, then called him up to boston to audition in person. "the same day over lunch they offered me the job on the goodday! show, " says caldwell. "so, from a standing start--knowing nothing about the business--four and a half years after setting the goal to get a talk show, i was in the sixth largest market in the country five days a week, live on the abc affiliate, interviewing every variety of celebrity and author that came through town." a year later, caldwell was hosting magazine in new york, five days a week in prime time, and had william morris as an agent. at the time, leeza gibbons and rob weller were hosting cross-town on two on the town. part of caldwell's job description was to produce two stories per month, so he learned production while on the air in new york. from there, he went on to the game show tic tac dough matt lauer took his spot on magazine ; , then to hbo entertainment news, the ace award winning top card and then to infomercials and rules of card games. 1933 century of progress flight, oct 14-nov 2. clean airmail cover sent akron-friedrichshafen then via regular mail to buffalo, ny. franked with 50c baby zepp c18 ; . sieger 243d ; plate 23 ; . ecv 0.00 ps 1928 america flight, oct 11-15. postal card sent friedrichshafen-brooklyn, ny bearing 2rm blue zeppelin stamp sc c36 ; . receivers on front and back. sieger 21a ; . ecv .00 cv 1928 round the world flight. america flight, oct 29-nov 1 #10 2c red postal envelope sent galva, il - saxony, germany, bearing 20 additional stamps various values, each cancelled with dot in circle dumb canceller. friedrichshafen receiver on reverse. sieger 22b ; . . ecv .00 p p c 1929 round the world flight aug 7-sept 4 american mail. ppc sent los angeles-new york, appropriately cacheted with addition handstamps "by graf zeppelin from los angeles calif. to lakehurst, nj". lakehurst receiver on front. sieger 29a ; . ecv .00 ps 1929 round the world flight, aug 7-sept 4 2c red postal stationery with added franking sent los angeleslakehurst. lakehurst receiver on reverse. sieger 29a ; . ecv .00.

No one doubts the fact that tom wolfe is one of the greatest americans ever to put pen to page. hell, this is the man who can tell you all the things about hippies and hallucinogens that your parents swept under the rug for all those years. despite these gifts, though, mr. wolfe has one major problem: he's 73 years old. so to balance out his life as a septuagenarian, mr. wolfe did what any sane person would obviously do in this situation--he wrote a book about college. this book, "i charlotte simmons" is a masterpiece of failed dichotomy. on one hand, wolfe's delicious prose makes the nearly 700 pages as easy and appetizing as an r.l stine novel. but at the same time, his look-down-the-nose attitude toward undergraduates makes the reader feel for most of the novel ; that their father is telling them to turn down that damn music and stop driving so fast. as far as plot goes, the story centers around the book's eponymous character and her freshman year at fictional dupont university that is so close to an unnamed school in durham, north carolina, that there really is no point in covering it up ; . dupont, the girls are trashy, the frat boys are alcoholics and no one seems to actually do any learning, especially not the god-like athletes. what may be the book's biggest flaw is his blatant stereotyping of everything that goes on in a college setting. the geeks want nothing more than rhodes scholarships, the jocks are dimwits with engorged muscles, and the boys of the saint ray fraternity throw wild parties where consumption of liquor and messy sex are described in some of the fi nest english you'll ever read. the worst stereotype of all, though, may be charlotte herself. i don't care if you've lived in a cave for 18 years--there is nobody this nave. in truth, charlotte's innocence is more of a metaphor for a time far gone, but the scene in which she gets a rundown of basic sexual terminology while sexiled by her roommate is almost painful to read. everyone knows someone who has held onto every shred of his or her innocence until move-in day. but charlotte's sainthood makes the novel seem almost like a joke. in defense, wolfe did do his research. several scenes of general revelry resemble the parties that he observed at the university of michigan. but even with consulting help from current students, the book feels like it was written by an old man looking in at a world that has passed him by. wolfe is a great writer--but if you want to really see it, let him tell you about lsd instead and speed the card game!