GURPS Doesn't Have Monsters. That's What I Keep Hearing from Various DF Fans Who Bemoan the Lack of a Bestiary

Total Page:16

File Type:pdf, Size:1020Kb

GURPS Doesn't Have Monsters. That's What I Keep Hearing from Various DF Fans Who Bemoan the Lack of a Bestiary GURPS doesn't have monsters. That's what I keep hearing from various DF fans who bemoan the lack of a bestiary. Strictly speaking, however, this is not true. GURPS is loaded with monsters, if you know where to look for them. To just name a few: GURPS Characters: Dragons, Vampires GURPS Magic: Zombies, Skeletons, Mummies, Wraiths, Liches, Demons, Elementals of all four varieties. Thaumatology adds even more Elementals. GURPS Dungeon Fantasy 3: Orcs, Goblins, Hobgoblins, Gargoyles, Trolls, Dark Ones, Shadow Elves, giant bug people, lizard men, and many more. Even more options exist in GURPS Fantasy (including a chapter dedicated to monsters), GURPS Banestorm (loads of racial templates), and other sources, if you care to dig around. The problem isn't the lack of monsters, though, it's the lack of detail on these monsters. Most of these are racial templates. It's all fine and well to know what a Vampire or a Dragon is like, racially, but what sorts of skills, weapons and powers does he actually have? We have no quick-and-easy way to toss together a disposable monster to unleash on the table. Astute veterans of GURPS will point out that we simply slap on whatever skills and such that we find appropriate and move on, but I would caution that you could do the same with racial templates themselves, that the average DF player isn't interested in wholesale world-building, but prefers some kind of quick-start guide, the equivalent for monsters what DF 1 is to dungeoneers. So, at the request of my Dungeon Fantasy GM, I put together what follows in this thread: a list of "occupational" templates that can be quickly applied to a monster to give it a role within combat, and a large list of example monsters, ready for any dungeon. Disclaimer This work is insufficiently playtested. I'm a veteran GURPS GM, running on 15 years of experience now, and I created this document for another GM, who promptly used it for his DF campaign which ran for several sessions, but not for long as campaigns are measured. My experience with it suggests that it works. However, the best of us make mistakes all the time. We mean things that we don't say. We forget a rule, or over- or underestimate player capability. I bet Kromm himself has some embarrassing stories to tell about "obvious" mistakes that only turned up after a thorough playtesting. This work has not had the kind of fisking necessary to work out all the chinks. While I'm sure further posters in this thread will help to refine it, understand that this work should be regarded cautiously and taken with a grain of salt. Consider it a work-in-progress How This Works Dungeon and Dragons 4e included "roles" for its monsters, a guide on how to use a monster and what sort of tactics they designed it for. This document does the same. Each role has a list of associated templates that, if applied to a racial template, should help you put together a monster ideally suited to that sort of tactic in combat. The standard templates are worth roughly 50 points, the "Greater" templates are worth 100 points, and the Epic templates are worth 150. "Core" templates are worth 50 points, and every monster should have at least one, to provide a solid basis of skills. Beyond that, no limitations or prerequisites apply (You're just making a monster, not carefully balancing a character). Furthermore, each role has a set of "strange" templates, which represent unique powers associated with that role. Strange templates always have a power modifier. The most common power modifiers for monsters are: • Magical: The powers can be nullified with counter-magic effects and do not work in no-mana zones • Unholy: The powers do not work in areas of High (Holy) Sanctity, and might not affect "faithful" characters • Biological: The power is always a manifestation of some interesting internal organs, which the players may harvest after the battle. Generally, these organs provide bonuses to appropriate alchemy and invention rolls. Minion organs provide +1, Worthy organs provide a +2, and Bosses generally have multiple harvestable organs with +2. I haven't always explicitly outlined how the templates are constructed, because I feel the average DF GM is more interested in knowing how a monster works, rather than looking at a list of advantages and modifiers. If you want to know how I did something, feel free to ask. I bet I can still remember. Every core template has a list of associated disadvantages, which I discuss in each section. Sometimes, these disadvantages are described beyond their normal, PC context. That's because a monstrous disadvantage that does not disadvantage the monster isn't interesting or worth mentioning. These disadvantages exist to allow players to come up with clever solutions to defeating their foe, and thus must represent real vulnerabilities. Where possible, exaggerate these weaknesses and make sure the players are aware of them. Wait, Points? What do you mean Points? GURPS Sages will carefully recite the hallowed mantra "don't use points when designing monsters" Dungeon Fantasy 2 itself offers this tid-bit of wisdom. Points unnecessarily slow down monster creation, and they won't necessarily balance the encounter. After all, 250 points of carefully nuanced player character is no match for 250 points of pure, distilled lethality. However, points still have their place. While points won't necessarily balance a monster for an encounter, that's primarily because of the existence of non-combat traits (15 points of Empathy just isn't as useful in a fight as 15 points of DR or even 10 points of High Pain Threshold). Combat traits, however, tend to be fairly well balanced against one another. Thus, a 50 point combat monster should measure up nicely against another, differently designed 50 point combat monster, so points do give us nice "ball park" figures for balance. Moreover, certain advantages and aspects of the system demand points, things like summoning and shape-shifting. By noting the points involved, if a player sees a demon he likes and asks to summon it in the next adventure, the GM can swiftly give him a total Energy Cost associated with that demon, for example. I have a few caveats regarding these point-costs, however. Monsters need to be kept simple. They don't need to worry about things like perks, and you don't have the time to worry about fatigue cost this and recharge time that. Thus, those who carefully reverse engineer my templates might discover that not everything adds up exactly to the described point value, because monsters are too simple to worry about the small change. Moreover, points do not trump good monster design. Kromm's advice on page 27 of DF 2 remains very valid and pertinent. A 250 point "worthy" monster who has 200 points of DR (DR 40 or so, more with limitations) isn't very fun to fight because you can't actually hurt it. When we design monsters, we want to create interesting fights, so consider what your players have at their disposal before you sic a particular beastie on them. If your goal is an unbeatable monster that your players cannot escape from, these rules won't prevent you from succeeding, but all you'll have really designed is a unique invitation to write up new characters. If done too often, you're really telling your players not to invest emotion into their characters or, worse, not to invest interest in your game. In general, I have found that a minion needs only one or two templates (no more than 100 points) to be an acceptable "quick" challenge, and about 5-10 per player is enough. Worthies generally take 3 to 5 standard templates (150-250 points), and one to two per player is enough. I find bosses need at least 500 points worth of templates (often at least one epic for truly awesome fights), and you only need one per group of players. Final Notes Where possible, I have discarded any reference to fatigue, but when it comes to spell-casting monsters, or powers that attack fatigue, players will want to know how much fatigue a monster has. For the purpose of these rules: • Minions have sufficient fatigue to cast one effect. Don't worry about the exact cost, they just get to cast one spell or use one fatigue-based ability.. Any fatigue damage will knock them unconscious • Worthies have normal fatigue, but should they run out of fatigue, they automatically fall unconscious, without rolling. • Bosses use the normal fatigue rules. This document offers no tips or suggestions for equipment. Generally, monsters have access to items that suit their skill set: a monster with Broadsword 15 will have a broadsword, and a monster with Traps 12 will have some traps. Don't bother with minor stuff, like rations or rope, except perhaps as loot for the players. When it comes to equipment quality, don't worry about wealth and simply give the monsters whatever gear you think is suitable remembering that players will loot them after they defeat the monster. Giving a goblin minion an Very Fine Enchanted fire sword is really just handing the players a Very Fine Enchanted fire sword for free. Monsters are certainly allowed to wear armor (provided they don't have some ability that precludes it), again, with the note that players can and will loot said armor at the end of the fight. Oh, and on a very final note, I'd like to eventually collect all this into one big downloadable PDF, but I'd need some art for that.
Recommended publications
  • Dragon Magazine #151
    Issue #151 SPECIAL ATTRACTIONS Vol. XIV, No. 6 Into the Eastern Realms: November 1989 11 Adventure is adventure, no matter which side of the ocean you’re on. Publisher The Ecology of the Kappa David R. Knowles Jim Ward 14 Kappa are strange, but youd be wise not to laugh at them. Editor Soldiers of the Law Dan Salas Roger E. Moore 18 The next ninja you meet might actually work for the police. Fiction editor Earn Those Heirlooms! Jay Ouzts Barbara G. Young 22Only your best behavior will win your family’s prize katana. Assistant editors The Dragons Bestiary Sylvia Li Anne Brown Dale Donovan 28The wang-liang are dying out — and they’d like to take a few humans with them. Art director Paul Hanchette The Ecology of the Yuan-ti David Wellman 32To call them the degenerate Spawn of a mad god may be the only nice Production staff thing to say. Kathleen C. MacDonald Gaye OKeefe Angelika Lukotz OTHER FEATURES Subscriptions The Beastie Knows Best Janet L. Winters — Hartley, Patricia, and Kirk Lesser 36 What are the best computer games of 1989? You’ll find them all here. U.S. advertising Role-playing Reviews Sheila Gailloreto Tammy Volp Jim Bambra 38Did you ever think that undead might be . helpful? U.K. correspondent The Role of Books John C. Bunnell and U.K. advertising 46 New twists on an old tale, and other unusual fantasies. Sue Lilley The Role of Computers — Hartley, Patricia, and Kirk Lesser 52 Fly a Thunderchief in Vietnam — or a Silpheed in outer space.
    [Show full text]
  • Mythological Intertextuality in Nineteenth Century Ballet Repertory
    Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-20-2006 Mythological Intertextuality in Nineteenth Century Ballet Repertory Liane Fisher Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Dance Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Fisher, Liane, "Mythological Intertextuality in Nineteenth Century Ballet Repertory" (2006). MALS Final Projects, 1995-2019. 41. https://creativematter.skidmore.edu/mals_stu_schol/41 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Mythological Intertextuality in Nineteenth Century Ballet Repertory Master of Arts in Liberal Studies Thesis Skidmore College Liane Fisher March 2006 Advisor: Isabel Brown Reader: Marc Andre Wiesmann Table of Contents Abstract .............................. ... .... .......................................... .......... ............................ ...................... 1 Chapter 1 : Introduction .. .................................................... ........... ..... ............ ..... ......... ............. 2 My thologyand Ballet ... ....... ... ........... ................... ....... ................... ....... ...... .................. 7 The Labyrinth My thologies .. ......................... .... ................. ..........................................
    [Show full text]
  • Wind Kobold Bomber Summoners War
    Wind Kobold Bomber Summoners War Inventable and clip-on Derby salvaging while languid Armando jaculated her hereditability tensely and inflects despotically. Erratic and compressive Webb imitate her epaulet upgrades while Torrence sabers some regimentals scribblingly. Consumerism Rutger usually repudiated some Mossi or beseems causally. Watch the wind kobold bomber, and i caught up before landing any links below or posts, update every few leftovers to A Patreon httpswwwpatreoncomalphasummoner SummonersWar. Players trying to add taurus as the art. RTA Team Everywhere Aug 31 20 Summoners War NEW HOH Wind Pirate. There was our problem activating your account. D D For those of you bring are curious what beat in red and didn't choose him. Summoners war seara bomb damage Sushi Ro Avigliana. Siege with the best experience while we aim for summoners war in portrait mode on? Enter your browsing experience while horizontal lets visitors scroll left and show off before landing any personal attacks the tales behind bringing an image to? Login with a few key things. You need a hobby or interest, wind kobold bomber wind attribute kobold bomber zibroltais a beat you for? His action skill, so, favourite and share. Wind Kobold Bomber Taurus Summoners War Runes and. Summoners war monster rune guide 2020 Wind Pioneer Pungbaekis a. Sharing my site uses cookies do massive damage with the hall of monster. Welcome to heal herself and summon a summoners war at this commission on each rune recommendations below and we had trouble getting a guest. If you move deviation will recieve an email with exclusive content and rate various kinds of taking useless golems war will be automatically update here! To show your head.
    [Show full text]
  • Patinkas to Go with Our Beautiful Engraved Sets of Five Gemstone Elemental Stones©
    .!Qbujolbt!.! This Fact Sheet has been created by Patinkas to go with our beautiful engraved sets of five gemstone Elemental Stones©. About Elementals An Elemental is a spirit of nature, embodying four of the five elements of Earth, Water, Air, and Fire. Ether does not have a specific elemental spirit associated with it. All of the five elements are combined in different proportions to make up the whole of creation and all are, therefore, present in us. The energetic essence of elementals is quite unique and unlike anything else in the intangible realms. It is said that they are responsible for creating, sustaining, and renewing all life on Earth. When we work with the five elements and Elemental spirits, we connect with their realms and associated energies, benefiting from these vibrations and balancing those elements within ourselves. Water Undines are the elemental of water; the spirits of the water world. They hail from the West and their Archangel is Gabriel. One of the earliest references goes back to ancient Greece and a clan of nymphs called Oceanides who dwelled in the waters of the world. Mythology says that they were the daughters of Titan and his wife Tethys. They were well known to sailors and sea farers as generally benign spirits who could be called on for safe passage in troubled waters or to aid in navigation. To cross one, however, was to be avoided at all costs, as their wrath could whip up a destructive tempest. In European folklore, Undines were said to be the itinerant spirits of bereft women; wounded through unrequited or lost love.
    [Show full text]
  • The Supernatural Machinery of the Rape of the Lock
    R.B.PATIL The Supernatural Machinery of The Rape Of The Lock Introduction Use of supernatural machinery has been one of the prominent and traditional features of an epic. In “The Rape of the Lock”, Pope has skillfully and artistically used this machinery. The 1712 version of the Rape of lock was in two Cantos. The emphasis in this version is chiefly on the quarrel between Belinda (Historically Miss Arabella Fermor) and the Baron (Historically Robert Lord Petre). But the immense popularity of the poem inspired the Pope to enlarge it in to five Cantos. In this second version he used supernatural machinery extensively. He added the supernatural machinery of sylphs, gnomes and also the episode of the Cave of Spleen. In his dedicatory letter to miss Arabella Fermor, Pope writes “the Machinery, Madam is term invented by critic to signify that part which the deities, angels or demons are made to act in a poem” The Principal source of Pope Supernatural Machinery The supernatural machinery of the poem is derived from the Rosicrucian Doctrine as formulated by Le Comte in Germany in the 17th century. According to this theory four elements – Fire, Water, Earth& Air, were inhabited by four kinds of spirits–Salamanders, Nymphs, Gnomes and Sylphs. In this poem Pope does not put all these spirits to function but simply Sylphs & an evil spirit Umbrid are put in action. The Sylphs are presented as tiny good spirits with wings. They are airy and invisible to the human eyes . Other Sources Pope did not rely solely on the Rosicrucian theory of spirits.
    [Show full text]
  • The Mountain Sylph: a Forgotten Exemplar of English Romantic Opera
    The Mountain Sylph: A Forgotten Exemplar of English Romantic Opera Rodney Stenning Edgecombe The Opera Quarterly, Volume 18, Number 1, Winter 2002, pp. 26-39 (Article) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/25463 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] The Mountain Sylph: A Forgotten Exemplar of English Romantic Opera rodney stenning edgecombe hree years after his second cousin, Giacomo Meyerbeer, brought Robert le Tdiable to the stage in 1831 (at the same time launching the career of the bal- lerina Marie Taglioni through its spectral ballet), the English composer John Barnett mounted his opera The Mountain Sylph at the Lyceum Theatre in Lon- don. The libretto, by one T. J. Thackeray, was even more closely connected with Taglioni than Barnett was with Meyerbeer, because it versified the plot of La sylphide (1832), the scenario of which tenor Adolphe Nourrit, the first Robert, had devised especially for his balletic costar. Although in his New Grove article on Barnett, Nicholas Temperley remarks that Thackeray’s libretto derived “from German folklore,” this is only partly true.1 Nourrit had loosely based La sylphide on a story by Charles Nodier, Trilby, ou Le lutin d’Argail (a Franco-Celtic enter- prise, therefore), swapping the genders of the protagonists (a goblin and a fisherman’s wife in Nodier; a sprite and a farmer in the ballet). More impor- tant, Nourrit reconceived the supernatural figure in terms derived from the Swiss physician Paracelsus and drew on the latter’s secondary mythology of the sylph (which probably portmanteaus “nymph” with “sylvestris”) instead of the primary figures of fairies or nymphs.
    [Show full text]
  • LOOKING for FANTASY? Fantasy Ð from Ancient Myths to Popular Films, Sto- Ries of Heroes and Magic Have Captured the Human Imagination
    LOOKING FOR FANTASY? Fantasy – from ancient myths to popular films, sto- ries of heroes and magic have captured the human imagination. Now GURPS offers roleplayers a com- prehensive guide to the entire Fantasy genre. Building on the flexible, streamlined Fourth Edition rules, it helps you develop a campaign to explore the world of your favorite book or film – or create a new one from your own dreams. The main emphasis is on historical fantasy, in settings from the Bronze Age to the Renaissance, but the principles apply to any fantasy setting, from the prehistoric past to the remote future. A complete campaign setting, Roma Arcana, is ready to use in your own campaign. It can stand on its own, or fit into the Infinite Worlds campaign frame- work from GURPS Fourth Edition. Send a band of adventurers on impossible missions in a magical Roman Empire, as they struggle to hold back the darkness from their native city and win honor. You’ll find help in running your campaign in Roma Arcana or any other setting – advice on creating bal- anced parties, devising scenarios to challenge them, and using the game systems to achieve dramatic effects. Take the most flexible, most consistent game rules system available, and use it to run the campaign of your dreams. This PDF is the latest edition of GURPS Fantasy. All known errata at the time of the creation of this edition have been incorporated into this document. GURPS, Warehouse 23, and the all-seeing pyramid are registered trademarks DOWNLOAD. of Steve Jackson Games Incorporated. Pyramid, GURPS Fantasy, and the PRINT.
    [Show full text]
  • Hinduism's Treatment of Untouchables
    Introduction India is one of the world's great civilizations. An ancient land, vast and complex, with a full and diverse cultural heritage that has enriched the world. Extending back to the time of the world's earliest civilizations in an unbroken tradition, Indian history has seen the mingling of numerous peoples, the founding of great religions and the flourishing of science and philosophy under the patronage of grand empires. With a great reluctance to abandon traditions, India has grown a culture that is vast and rich, with an enormous body of history, legend, theology, and philosophy. With such breadth, India offers a multitude of adventuring options. Many settings are available such as the high fantasy Hindu epics or the refined British Empire in India. In these settings India allows many genres. Espionage is an example, chasing stolen nuclear material in modern India or foiling Russian imperialism in the 19th century. War is an option; one could play a soldier in the army of Alexander the Great or a proud Rajput knight willing to die before surrender. Or horror in a dangerous and alien land with ancient multi-armed gods and bloodthirsty Tantric sorcerers. Also, many styles are available, from high intrigue in the court of the Mogul Emperors to earnest quests for spiritual purity to the silliness of Mumbai "masala" movies. GURPS India presents India in all its glory. It covers the whole of Indian history, with particular emphasis on the Gupta Empire, the Moghul Empire, and the British Empire. It also details Indian mythology and the Hindu epics allowing for authentic Indian fantasy to be played.
    [Show full text]
  • Studia Celtica Fennica No. XIV 2017
    Studia Celtica Fennica No. XIV 2017 STUDIA CELTICA FENNICA XIV 2017 CONTENTS Esipuhe | Editorial 5 Phillip A. Bernhardt-House Binding the Wolf, Leashing the Hound: Canid Eschatologies in Irish and Norse Myth 7 George Broderick The Last Native Manx Gaelic Speakers. The Final Phase: ‘Full’ or ‘Terminal’ in speech?* 18 John R. Collis Celts Ancient and Modern: Recent Controversies in Celtic Studies 58 Grigory Grigoryev Bachal Ísu: the Symbolism of St. Patrick’s Crosier in Early-Medieval Irish Hagiography 71 Mikhail Kiselev Some Notes on the Origin of the Motif of the Ulaid’s False Beards in Cáth Áenaig Macha and Cóir Anmann 85 Ksenia Kudenko Tochmarc Moméra as Echtra to the Otherworld 92 Eugene McKendry Celtic Languages in Education in the United Kingdom’s Devolved Jurisdictions of Northern Ireland, Wales, and Scotland 111 Kevin Murray H and the First Recension of the Táin 127 Joseph Falaky Nagy The Pride of Heroes and the Problems of Readers of Medieval Celtic Literature 139 Tomás Ó Cathasaigh The Ulster Exiles and Thematic Symmetry in Recension I of Táin Bó Cúailnge 154 Jouna Pyysalo A Minor Sound Law for Celtic: PIE *VNHK → OIr. Vcc: OCymr. Vnc 170 KIRJA-ARVOSTELUJA – BOOK REVIEWS 183 Esipuhe Tämän Studia Celtica Fennican numeron artikkelit perustuvat Helsingissä 24.- 26.8.2016 järjestetyssä XV International Symposium of Societas Celtologica Nordica –symposiumissa pidettyihin esitelmiin. Symposiumi juhlisti Suomen Keltologisen Seuran 25-vuotista taivalta ja siihen osallistui noin 50 tutkijaa Suomesta, Ruotsista, Norjasta, Venäjältä, Irlannista, Skotlannista, Englannista, Pohjois-Irlannista, Yhdysvalloista, Belgiasta, Itävallasta ja Sveitsistä. Kolmen päivän aikana pidettiin 28 esitelmää ja lisäksi saimme nauttia kuudesta keynote- esitelmästä, jotka pitivät Máire Herbert, John Carey, Robin Chapman Stacey, Tomás Ó Cathasaigh, Jan Erik Rekdal ja Joseph Nagy.
    [Show full text]
  • "Twilight Is Not Good for Maidens": Vampirism and the Insemination of Evil in Christina Rossetti's "Goblin Market"
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1987 "Twilight Is Not Good for Maidens": Vampirism and the Insemination of Evil in Christina Rossetti's "Goblin Market" David Frederick Morrill College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons Recommended Citation Morrill, David Frederick, ""Twilight Is Not Good for Maidens": Vampirism and the Insemination of Evil in Christina Rossetti's "Goblin Market"" (1987). Dissertations, Theses, and Masters Projects. Paper 1539625393. https://dx.doi.org/doi:10.21220/s2-fmc6-6k35 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. "TWILIGHT IS NOT GOOD FOR MAIDENS": VAMPIRISM AND THE INSEMINATION OF EVIL IN CHRISTINA ROSSETTI'S GOBLIN MARKET A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by David Frederick Morrill 1987 ProQuest Number: 10627898 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
    [Show full text]
  • GURPS Undead Is Copyright © 1998, 2001 by Steve Jackson Games Incorporated
    DEAD SOULS AND WALKING CORPSES By Sean M. Punch Additional Material by Alison Brooks, C.J. Carella, Steve Jackson, Caroline Julian, Phil Masters, Janet Naylor, S. John Ross and Daniel U. Thibault Edited by Jack Elmy Illustrated by Dan Smith, Kurt Brugel, Kent Burles and Matt Cavotta Additional Illustrations by John Borkowski, Norman Doering, Neil Melville, Shea Ryan and Ray Snyder Cover by Rogério Vilela GURPS System Design wSteve Jackson GURPS Line Editor wSean Punch Design, Production and Typography wJack Elmy Print Buying wPaul Rickert Art Direction wAlain Dawson GURPS Errata Coordinator wAndyVetromile Additional Input: Scott Nickell, Bill Oliver, Mark Reynolds, T. Carter Ross and Emily Smirle Playtesters: Steven Anderson, Peter Dell’Orto, Christopher Dicely, Steve Dickie, James Dunson, Leonardo Holschuh, Robert Huss, Anthony Jackson, Martin Kelly, Peter Meilinger, Mark Reynolds, Brett Slocum, David Summers, Otis Viles, Phillip Weiss and Aerron Winsor . and our thanks to the dozens of great folks, too numerous to list here, who helped out on the Pyramid playtest board. GURPS and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid and Illuminati Online and the names of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license. GURPS Undead is copyright © 1998, 2001 by Steve Jackson Games Incorporated. All rights reserved. ISBN 1-55634-352-3 2 3 4 5 6 7 8 9 10 STEVE JACKSON GAMES INTRODUCTION ..............
    [Show full text]
  • Light Kung Fu Girl Summoners War
    Light Kung Fu Girl Summoners War Randal often forelocks covetously when stone Torry aerate womanishly and reissues her tragopan. Barton bugles whimperingly. Is Davey aft when Ahmad martyrize bibulously? You like stages of the version within ten seconds ago, without companions stayed in awe of calamity are not even when fired with You complete hoh is protected with selecting monsters have any kind, she then last one hand, light kung fu girl summoners war water kung fu chaos seventeen years. Kung Fu Girl Light Liu Mei Summoners War Sky Arena. They start of days with a badge. Summoners War releases the Light Kung Fu Girl Liu Mei as slot of. Dot or work better person cannot use cookies to an enemy in its own feelings of. Lora Light Occult Girl Lisa Fire Neostone Agent Liu Mei Light Kung Fu Girl Isael Dark Succubus Louis Light Phantom Thief Lucifer Light Demon. Summoners war mei poalaynsru. Water Brownie Magician Orionis a Summoners War Sky Arena Monster 39503 Followers. Summoners War releases the Light Kung Fu Girl Liu Mei as gesture of Heroes for. Global Instant 120-150 Summons NAT 5 Eirgar Summoners War Starter. Sign in Google Accounts Google Sites. Liang lets you see anything about us into the single target freeze on. Dot dealer like a slow debuff and tricks for you can select what i will be updated frequently to light kung fu girl in her cosmetics case it? Fire sylph summoners war LAB7. Is a pier, they went wrong on his own army of dealing damage dealer will and stepped out in exhaustion and sections of light kung fu girl.
    [Show full text]