The premise of the game, if you recall, is a world in which the orcs and goblins and other green-skinned folks are viciously oppressed by the humans.
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Apparently, this meant opening the back door to a host of ghouls and goblins who pay extra for the right to co-locate their servers and see the orders of the public in a speed that is somehow faster than real-time.
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It is almost Halloween and with that come ghosts, goblins and tricks proving things may not always be what they seem.
With them came stories collected on their travels: tales of goblins and giants, fairy queens and woodland nymphs, unearthly phantoms, man-eating ogres and predatory ghouls.
By night, he would slay demons, battle goblins and cast spells.
The estate once belonged to their great-great-uncle, Arthur Spiderwick (David Strathairn), a naturalist whose field research revealed some unexpected new species: fairies, goblins and the like.
The ghouls, goblins and vampires in the form of unregulated CDS contracts, overleveraging, Bernie Madoff, Internet stocks and sub-prime mortgages are sure to rear their ghoulish heads again.
The most lavish of these involves the goblins and their underground lair teeming with hundreds of the creatures in a complicated labyrinth full of so much detail you could watch it several times and keep finding something new happening in some corner in the background.
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The finest moments of these effects come in three particular sequences: the trolls, the goblins, and the inevitable appearance of Gollum.
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Her ballet is based on George MacDonald's beautifully told 1872 tale about Irene, a steadfast princess who encounters the ghost of her loving great-great-grandmother (also named Irene) and, accompanied by her rustic friend Curdie, gets entangled with a population of fearsome goblins.
The harsh, explosive consonants and the action-focused, verb-heavy monosyllables instantly immerse us in the hard, violent world of the goblins, who take pleasure in acts of cruelty.
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