In summary, Silence is a powerful tool that can be used to counter spells and abilities. It is not a standalone ability but can be used to prevent opponents from casting additional spells. However, it does not stop spells that have already been played, such as cascade abilities.
When cast in response to a trigger, the opponent hasn’t played the spell yet, and whatever they flip will be put on the bottom of their library. If cast in response to the spell that they flip, however, the cascaded spell will have already been played, and Silence won’t stop it.
The Sphere of Silence, which can be placed at its maximum 120 ft, doesn’t affect spells that your opponents cast before you cast Silence, including any spells still on the stack. Once Silence resolves, opponents are not allowed to cast spells, and their spells cost 2 more for each Aura of Silence you have on the battlefield.
In addition to its role in countering spells, Silence can also be used to counter abilities like cascade abilities. Render Silent doesn’t counter any abilities, but it will keep the targeted spell’s controller from casting any further spells this turn, whether with cascade or otherwise.
However, it is important to note that Silence only stops casting spells, and opponents can still activate abilities, including those of cards in their hands. If you cast Silence in response to a cascade spell, it will not stop it.
In conclusion, Silence is a powerful tool that can be used to counter spells and abilities, but it doesn’t directly prevent opponents from casting additional spells. Instead, it can be used during the upkeep phase to prevent opponents from playing spells.
📹 WHAT ABOUT CASCADE STORM!?! Creative Technique Combo — Legacy Mississippi River Magic: The Gathering
Bryant Cook plays Creative Technique / Mississippi River in a Legacy League on Magic: The Gathering Online! These matches …
Why is silence so powerful?
Silence is a powerful way to communicate acceptance and understanding with others, especially when they are troubled. It involves giving the other person your full attention, including appropriate eye contact and gestures like nodding, leaning forward, smiling, frowning, and other facial expressions. Being quiet and not saying anything gives the other person uninterrupted time to talk about whatever is on their mind. Silence can also provide the opportunity for them to make decisions, solve problems, or express themselves without outside pressure.
Does silence cancel channeling?
Forced Movement abilities like Vacuum and X Marks the Spot interrupt channeling even on friendly units. However, Force Staff and Boulder Smash do not interrupt channeling. Usable abilities while channeling include toggle-able abilities and abilities granting invisibility. Channeled abilities require the caster to stay still while the ability is active, while toggle-able abilities and abilities granting invisibility do not interrupt channeling.
Can silence be used as a counter?
The Fifth Amendment to the United States Constitution grants individuals the right to remain silent and avoid self-incrimination. However, the Supreme Court has ruled that a person cannot stand mute to evoke this privilege automatically. The ruling, in Salinas v Texas, states that the privilege is not self-executing and a witness must affirmatively claim it. This means that speaking is the only way to invoke the right to remain silent. If a person fails to assert their right to remain silent, the government can use their silence against them at trial.
If a person is subpoenaed to testify, there is no need to expressly invoke the privilege against self-incrimination. A defendant can say they are not answering questions on Fifth Amendment grounds, but failing to do so is insufficient to notify police that the suspect is relying on their Fifth Amendment right to remain silent. The Court has found that police cannot understand silence, and a person must explain why they are silent.
Can you cast spells in response to silence?
The card, titled “Silence”, cannot be used as a counterspell, as anything cast before it will still go through as the spell is already on the stack. Its strength lies in combo decks, particularly in a meta with minimal counterspelling but high target removal. When all combo pieces are obtained, the player casts silence first, allowing them to drop all pieces without interference. This card is particularly useful in combo decks with minimal counterspelling and high target removal.
Can a spell counter itself?
It is not possible to direct a counterspell at its own source; however, a counterspell may be directed at the redirect in order to counter it indirectly. When the spell “Redirect” is cast, it is not possible to modify a spell that is targeting another spell on the stack so that it targets itself. Nevertheless, modifying the spell’s target to Redirect will negate the spell upon its attempted resolution, as Redirect has been removed from the stack.
What spells aren’t affected by silence?
To ascertain whether spells are not faded out, navigate through the spell levels with the spellcaster silenced. It has been established that only Minor Illusion, Friends, and Hypnotic Pattern are known to be faded out.
Does countering a spell stop cascade?
Cascade is a powerful keyword ability in Magic: The Gathering (MTG), allowing players to cast free spells whenever they cast a spell with cascade on it. This randomness can make games spicier and more explosive. Cascade works by allowing players to counter a card with cascade on it using a card like Counterspell or Logic Knot, but the cascade trigger still resolves after the counter. This makes cascade cards so powerful. This article covers the mechanic, key interactions, and decks that rely on cascade, as well as the most iconic cascade cards and decks that make the most of the mechanic.
Does silence prevent spells?
In the Dungeons and Dragons multiverse, magic spells require casters to speak and move their hands. Some spells can be cast without verbal components, allowing casters to use magic even under gagged conditions or silence spells. The silence spell is an effective method for dealing with spellcasters, as it shuts down their ability to use most spells.
Spellcasters in D and D have powerful powers that match the might of dragons, but they have restrictions, such as getting the drop on a spellcaster and holding their arms, which reduces their spell usage. This is why spellcasters need meat shields and healer friends to avoid MMA-style combat.
The Grappled and Restrained conditions in D and D do not explicitly state spellcasting is impossible, but they are ambiguous. D and D principal rules designer Jeremy Crawford stated that these conditions only affect spells if the caster’s hands are bound, leaving room for DMs.
To stop powerful enemy spellcasters, preventing them from talking is often easier than doing so. Spellcasters often protect themselves with defensive magic or minions. Silenced spellcasters lose access to most of their spells, making it difficult to control them.
Does silence stop spells on the stack?
The casting of a spell by an opponent prior to the casting of the spell in question does not result in the spell being affected, including those that are still on the stack. The aforementioned rule does not impede opponents from casting spells subsequent to the casting of the spell in question, prior to its resolution.
Does silence counter a spell in MTG?
In contrast to a counter-spell, the card does not negate the effects of a spell that was played prior to its resolution. The card is unable to counteract a 10-mana Banefire that has already been cast. The player rating represents the overall assessment of the card, incorporating all player rating votes. In conjunction with the Isochron Scepter from Mirrodin, this card offers a robust defensive strategy against the opponent.
Does silence stop abilities?
Silence does not disable any passive ability, even if it prevents the caster from using the active part of Vampiric Spirit. It does not affect skeleton charges or lifesteal to proc, even if the ability has a cooldown or mana cost. Some abilities with DOTAABILITYBEHAVIORIGNORESILENCE flag are still castable when silenced, and silence status is provided by all sources fear and hex.
📹 How Silent Movie Special Effects Were Done
How some cool silent film effects were done. In Sillent movies, effects had to be done in camera. Enjoy this amazing feats of …
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Recluse puts the counters on EVERYTHING that entered this turn, that’s why it’s the best spell to start with. I think it’s a lot more powerful than a lot of people are giving it credit for, compared to the other cascade spells. At 41:00 I would have cast Sweet-Gum instead of Phoenix for that reason; you would have had lethal with Boarding Party as well but Sweet-Gum would have been even more likely to be lethal.
This deck is BUSTED and fun. The only issue can be that it’s so simple and linear that it can get boring very quickly. Also the sideboard looked quite counterproductive, except for Karakas. As long as you have your Otawara and Boseiju, you don’t need to add other cards that make the combo more likely to fizzle. Let the Galaxy Burn isn’t available on MTGO, right? That’s another broken card for this deck.
I’ve tried doing some of these matte effects with a 16mm cine camera. I had some success with black matting half the image, rewinding and exposing again but putting matte pictures in the frame is a logistical nightmare. (exposure, placement, grain etc etc). I have nothing but extreme respect for the cinematographers of old. They were nothing short of artistic geniuses. I have a friend with a Bell and Howell 35mm 4 pin register 2709 movie camera. These are still impressive, 107 years after being manufactured. Maybe I should try again at shooting some matte pictures?
The through the glass shot with Charlie Chaplin is called a glass matte. I remember these glass mattes being used in the 1960’s when Hammer Films employed this technique to place Dracula’s Castle high up in the Carpathian mountains. Today’s digital world uses green screen and computer technology of course.
I’m with the crowd giggling because of the stunt Buster did himself. I was pretty much expecting whichever Buster stunt you showed to be entirely, “No effects, Buster did this himself.” I’m kinda glad that sometimes he had the good sense to use a little trickery. He did enough damage to himself as it was. Wonderful stuff though.
I am a Buster Keaton afficionado and although yes he did actually really do some dangerous stunts himself, he did on occasion use speeded up film and split shot filming, e.g when he was all the audience perusal himself on stage and when on a bicycle hurtling after the cyclist fell off. His background in Vaudeville as a rough and tumble child helped his stunts in films as he was incredibly adept at falls and was allegedly even named Buster by the master of escapism Harry Houdini. He also created his own contraptions and inventions in his films, he rode a prototype segway in The General for example. He was unique amongst his peers for not only his imaginative and psychological often dark and surreal humour but his pioneering use of film and doing his stunts himself, he broke his neck in one but carried on working. Such a delicate beautiful looking man but with an inner strength and fortitude. Harold Lloyd and Charlie Chaplin for me were not comparible, for one thing their stunts were relatively safe to do with trickery as we see here. Fascinating article, the Mary Pickford shot was particularly inventive.
This was a really nicely put together article, and very interesting! It’s so sad that clever practical effects is a dying art, because I think even if it’s trickery it sill looks SOOO much better to have something actually physically there in front of the camera. That’s why I appreciate people like Christopher Nolan for still using amazing practical effects, such as building an actual spinning room set for that hotel scene in Inception. CGI can certainly do some amazing things that are simply impossible with practical effects, but nowadays it seems like it’s often used as a cheap substitute…
I took my family to see Safety Last at the Wilturn theatre in 1971. Gaylord Carter played the Kimball pipe organ, Mr. Lloyd spoke from the stage. My mom was on the edge of her seat gripping the arm rests as Harold climbed that building. Now sadly we are without the Kimball organ, Gaylor, Harold and my mom but what a fun evening with a full Wilturn theatre.
D.W. Griffith’s Way Down East is the best example of using special effects and realism. In the icy river scene there was a lot of film editing and the ice was artificial but the scene was dangerous and Lilian Gish suffered permanent injury to her hand. Richard Barthelmess, who jumps from flow to flow, rescues Lilian and jumps back to shore carrying her, said that he would never do anything like that again for any amount of money. Griffith and Gish were both fanatical about realism at any cost. That very petite and lovely lady was one the finest actors who ever lived. She shames these clowns in Hollywood today.
This is a very informative article and I do appreciate the effort that went into it . Thank you. However I think the choice of the cliche “rinky-tinky” music track that accompanies this article was unfortunate. Modern people have been conditioned to associate this sort of corny music with all silent films (especially comedy films), but the truth is quite different. Just watch the original versions of Chaplin’s City Lights or Modern Times (with scores composed by Chaplin) for an example of the richness of the music used in silent films. Search on YouTube for Episode 1 of the documentary series by Kevin Brownlow and David Gill called “Hollywood”. Search for “Hollywood – Ep 1 : The Pioneers”. Watch it from 2 min. 15 sec. mark – to – 5 min. 41 sec. where they show how music was used in silent films. No “rinky-tinky” psuedo-ragtime piano music.. (maybe in a small town theater all they had was a single piano for accompaniment, but the big city theaters had full orchestras.)
I’m already to the point of stop with all the (seems to be) trendy whining about cgi. The old superimposed effects, practical they may be………weren’t always great…..bout as cheesy as cgi. And I love the practical effects I grew up perusal in the 70s through early 90s. Not all cgi is bad. Looking at these effects though……inspiring. Awesome ways to push what was available.
very cool, and the irony of computer technology explaining the tricks without having to do them…. and thus you have the idiom, “movie magic”. very clever tricks, in that they were like magician tricks on a grand scale. long before anyone was called an “illusionist”, well there were illusionist paintings very early on.
That was really Cool i did know some of the special effects but by no means this much.for an example in an episode of Batman he and his side kick Robin were climbing a building all the while talking little did i know they were on a flat surface and haunched over looking like they were climbing a building with no effort ! !
I thought the Harold Lloyd c lock hanging scene was fro m them 1931 movie Sidewal ks Of New York? The Incredi ble Hulk t.v. series did the s ame thing. In the 1981 epis- ode King Of The Beach, Lou Ferrigno plays both the Hulk & a bodybuilder in a bodybui lding contest. Big Louie as t he Hulk picks up a girl who gets knocked out by a punc h to the face by a bad guy. H e then takes the girl onstage & gives her to Big Louie the bodybuilder. I always wonde red how the Hulk was able t o give a knocked out girl to himself.
Special effects and/or stunts in old movies were more believable. Everyone now has become numb to CGI in everything, yeah it makes films looks awesome but we have become so used to it that we don’t even appreciate the effects anymore. Audiences are just not as impressed because everything has been done, there are no shocks or surprises. For me, films with little or no CGI are the best.
Very ingenious how they shot that iconic Harold Lloyd scene. When I first saw it, I was sure he was about twenty or thirty stories up. All the same, he was a great climber. In one continuous scene, you see him look up, then start climbing an apartment building and reaching the first floor in not time.
What’s been done over the past few decades (called “special effects”) have been anything but. They’re standard crutches of CGI and pyrotechnics that have largely destroyed the movies. Like modern music and vehicles it’s the same non-distinctive deck of cards reshuffled for the billionth time. Of course today’s interchangeable actors/actresses go perfectly with them. The new stuff doesn’t matter anymore anyway, it’s for the global market and requires no thought or intelligence. Just sit there for an hour and a half of audio-visual assault over and over again.