CHEATS FOR SILVER VERSION

JEANNOT, as he was known to his friends and fans, was a monstre sacre of the French stage and cinema. He had a long career that took on mythical proportions. His friend (and one might almost say "creator") Jean Cocteau defined Jean Marais' appeal to both men and women: "It does not depend only on sensual grace. It flows from the child still at the heart of the mature man. That is the true source of the expressive beauty of his eye, of the way he looks at you, imposes his physical presence."

Good-looking children usually have an easy life at home and in school, but their happiness ultimately hangs upon the qualities of their parents. Marais' father was a doctor, rather remote. It was not until Jean was 45 that he saw him again, on the point of death. His mother was all too present, possessive, and from time to time in prison on kleptomaniac charges. He invokes her influence thus:

When I was a child, she was always telling me I was ugly. But I secretly thought I wasn't all that bad-looking. Nevertheless, because of her attitude, I have never been able to see myself as handsome . . . As a child, I think I must have been a real monster. There was a show-off side to me, because I wanted to be an actor. I would do anything to attract others; and in order to do so I set out to improve myself in all those areas where I felt there was some lack in me. So people have always liked me, even loved me, but I often had the feeling that it was for the wrong reasons.

In his autobiography, Histoires de ma vie (1975), he writes: "I've had a fabulous life, a destiny . . . The cinema was the real awakener for me. My brother and I would amuse ourselves by replaying at home the scenes we saw on the silver screen." When Jeannot was only four years old, watching Pearl White in The Perils of Pauline, he made up his mind to be an actor, inspired by the courage the actress displayed in a thrilling scene as she grabbed a creeper and hauled herself out of an engulfing whirlpool. Later, he heard, from the old actress herself, that she had been doubled in this dangerous stunt. Jeannot felt cheated, and swore that he would perform all his movie stunts himself. And so he did; he had the physique of a first-rate athlete.

At the Gala de l'Union des Artistes in which stage folk annually performed the most hair-raising circus tricks or cascades, Marais often won first prize. At the 1959 Gala, live on television, Marais, in full evening dress, shinned up to the top of an 18-metre pole with a carefree elegance. He was seen by the movie director Andre Hunebelle, already famous for his cloak-and-dagger adventure movies, who realised he could save the expense of a stuntman by putting Marais under contract for his next swordfight epic, Le Bossu.

This movie's great success led to a whole series of period action melodramas and mysteries in which Marais performed all his own stunts. In fact, in 1947, at Cocteau's suggestion, he had already made an adaptation of Victor Hugo's Ruy Blas, co-starring Danielle Darrieux.

The public became insatiable for the latest spectacle of Marais in short cape and form-fitting tights, escalading high walls, jumping into saddles; or as Fantommas, masked, leaping across the roofs of Paris, or swinging from giant chandeliers. He was an accomplished swordsman for roles in Le Comte de Monte Cristo (1953), Le Capitan (1960), Le Capitaine Fracasse (1960) and Le Masque de fer (1962).

But at the same time he was appearing in more intelligent cinematographic works. He had appeared for the first time with Michele Morgan in 1948, in Jean Delannoy's Aux Yeux du Souvenir. In 1950, Rene Clement directed the pair in a subtly sentimental film, Chateau de verre, and later Marais confessed, "Michele Morgan is the only woman I could have loved." We are not told what his co-star's feelings (if any) might have been. One of his best serious films, Le Notti Blanche ("White Nights"), was directed by Visconti, who later also directed Marais on stage in William Gibson's play Two for the Seesaw.

Jean Marais' career however was intimately bound up with the work of another great director, Jean Cocteau. He first came to Cocteau's notice in a non-speaking part in the 1937 play Oedipe Roi, which was greeted every night with boos and catcalls. Marais remained so self-possessed throughout all the hubbub that Cocteau realised he would make an ideal leading man. So Marais was to appear in several of Cocteau's most striking theatrical works: Les Chevaliers de la Table Ronde (1937), L'Aigle a Deux Tetes with the divine Edwige Feuillere in 1946, La Machine Infernale (in the 1954 revival with Jeanne Moreau), Les Parents Terribles (1938) and the 1969 revival of Oedipe Roi after Cocteau's death, which Marais directed: he created the costumes and decor too.

Two of these plays, L'Aigle a Deux Tetes and Les Parents Terribles, were made into films of great distinction, virtually presented as filmed st

About the bead sprite:
811 Beads
A cute little guy, huh? I cheated a bit and used grey for the lightest purple.

What my Fiancee calls this Pokemon:

Facts & Trivia:
Both Shellder and Staryu are Water-type Generation I Pokemon whose only evolution requires a Water Stone. Shellder is exclusive to FireRed, while Staryu is exclusive to LeafGreen, and both Pokemon are found by fishing in the same locations in each version. Also, even though Shellder's tongue is seen almost constantly, it cannot learn "Lick".
In the anime, Shellder is required to evolve Slowpoke into Slowbro or Slowking. Shellder clamps onto a Slowpoke's tail to evolve into Slowbro, or onto its head while wearing the King's Rock to evolve into a Slowking. Even though Shellder changes form drastically when it bonds with Slowpoke to evolve (see above), it is not considered an evolution in and of itself.
Though Slowbro's Silver Pokedex entry mentions that Shellder secretes venom, it cannot learn any Poison-type attacks by leveling up. However, it is still able to learn Toxic via TM.
Shellder are one of the few Pokemon to show their entire body in a backsprite before Generation V, which it does in Generation II.
Shellder and its evolution were shown to be capable of floating through the air in Pokemon Snap, a trait that has been seen in no other media.
Shellder is similar to bivalves, more specifically the clam, with its tongue representing a clam's "foot".