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Description
AXOLOM Echo XL Realistic Packer - 4.5" Shaft UncutAXOLOM Echo Packer FTM FTM : Echo XL Echo Packer Echo XL Echo XL Packer 4. 5 4. 5 11 1. 5 3. 8 2. 7 6. 9 246 8. 7 8 Echo Echo XL Uncut )
更大版本的 AXOLOM 未刪減版《Echo Packer》。
證明了我們對創新和品質的承諾 FTM填充假體實現 FTM 假體逼真度和舒適度的革命性升級。
雙層材質和可移動睪丸，十足逼真手感:
Echo XL 包裝器採用先進的雙層設計，其特點是超柔軟的矽膠芯被更堅固的外層包裹。既能表現手感的本質，又能確保桿身的耐用性。
Echo Packer 配有活動睪丸，可自然順暢運動，比傳統的實心產品增強了真實體驗。
（為了提供更真實的體驗，Echo XL 包裝器的外皮非常薄。請確保不要讓指甲、拉鍊或其他尖銳物體損壞它。）
結構細節：
Echo XL Packer 有內建的紅色頭部和球。
（假體均由手工製作完成，每件產品上色細節可能會略有不同，每個假體都獨一無二。）
尺寸：
4.5 英吋軸。
| 陰莖長度： | 4.5 英吋（11 公分） |
| 直徑： | 1.5 英吋（3.8 公分） |
| 睪丸寬度： | 2.7 英吋（6.9 公分） |
| 重量： | 246 克（8.7 盎司） |
顏色選項：
有 8 種顏色可供選擇，輕鬆找到最匹配您的膚色。
注意：
Echo 由三種矽膠材質製成。內部是矽膠，外面是比較柔軟的矽膠。由於兩種材料的收縮率不同，使用數月後可能會出現凹痕。
準備好更上一層樓了嗎？
隆重介紹升級版 Echo XL Uncut－終極之選 超現實 經驗。
- 可活動的包皮：
纖薄可活動的包皮，帶來逼真的觸感。您可以根據需求選擇任何高級功能。
- 額外繪畫：
除了內建顏色外，您還可以選擇升級功能，透過手工繪製外部圖案，獲得超逼真的外觀。
（附註： 額外的表面塗漆可能會隨著時間的推移而磨損，但頭部和球上的內置顏色將永久鎖定，永不褪色。表面塗漆物品遺失後恕不接受退換貨。)
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4.4 ★★★★★
Based on 28 reviews
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Product Reviews
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers
ISBN: 978-0-19-5396638
Read June, 13th-27th, 2017.
This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book.
After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time.
Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person.
Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma.
Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision.
The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
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Reviewed in the United States on March 20, 2014
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
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Reviewed in the United States on April 20, 2017
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