Dragon Magazine #157
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Arak and Gwydion (Some Thoughts on the Shadow Elves' History) By R. Sweeney Gwydion isn't a 'real' demon, but rather a creature of great power from the plane of shadow. Gwydion's evil was his enslavement of the ShadowElves. His torment is his betrayal by Arak. Unlike Vecna, he was not on the prime and could only be 'trapped' because he was trying to follow the Shadow Elves into RL. (Presumably to kill them or re-enslave them). I wonder what Arak was thinking, however. Would there be anyplace he could take the Shadow elves into exile where Gwydion could not follow? Did he think he could hide from such a powerful creature? Gwydion must have had an enemy. A sibling perhaps. The Shadow Elves must have acted as some sort of armed forces for him. Arak must have believed that if Gwydion suddenly found himself without his Slaves, he would have been destroyed by his rivals. However, there other.. less satisfying, perhaps, ways of re-writing ShadowElf history. Gwydion, the shadow-being, falls 'in love' with an elf from some other world. They mate, bear children. Woman dies, Gwydion takes his children and their children as slaves. Millenia pass. Arak was Gwydion's favorite. Perhaps, Gwydion had mated with one of the Shadow elves of unsurpassed beauty and begat Arak. Thus, he set his son above all the other slaves. Arak, however, desired more than to be the head of the slaves. He managed to betray his father to his enemies. Arak had intended patricide. He was going to take away Gwydion's protective armed forces, leaving him vulnerable to attack by his other enemies. -
The Grand History of Eberron
The Grand History of Eberron Edited by Christopher J. Monte Based on the bestselling campaign world of Eberron created by Keith Baker and Wizards of the Coast The longer you look back, the farther you can see forward. —Sir Winston Churchill The world is a fine place and worth the fighting for… —Ernest Hemingway, For Whom the Bell Tolls There is a tide in the affairs of men, Which, taken at the flood, leads on to fortune; Omitted, all the voyage of their life Is bound in shallows and in miseries. On such a full sea are we now afloat, And we must take the current when serves, Or lose our ventures. —William Shakespeare, Julius Caesar , Act IV, scene iii 2 Acknowledgements and Works Cited All ideas and storylines below are trademark/copyright their respective publishers and/or creators. This is a non-profit publication for use as a supplement to Eberron reading and the Dungeons and Dragons game and is NOT in any way affiliated with Wizards of the Coast or any other licensed distributor of Dungeons and Dragons merchandise. Any items or rights that are the property of these sources are not claimed by this writer. All rights are reserved to their original creators. The world of Eberron was created by Keith Baker. This work represents only a compilation of information and ideas first published in the following sources by him and other authors and game designers employed by Wizards of the Coast and is in no way an original work of this author. City of Stormreach by Keith Baker, Nicolas Logue, James Desborough and C.A. -
Dragon Magazine #228
Where the good games are As I write this, the past weekend was the WINTER FANTASY ™ slots of the two LIVING DEATH adventures; all the judges sched- gaming convention. uled to run them later really wanted to play them first. That’s a It is over, and we’ve survived. WINTER FANTASY isn’t as hectic vote of confidence for you. or crowded as the GENCON® game fair, so we can relax a bit These judges really impressed me. For those of you who’ve more, meet more people, and have more fun. never played a LIVING CITY, LIVING JUNGLE™, or LIVING DEATH game, It was good meeting designers and editors from other game you don’t know what you’re missing. The judges who run these companies and discussing trends in the gaming industry, but it things are the closest thing to a professional corps of DMs that was also good sitting in the hotel bar (or better yet, Mader’s, I can imagine. Many judges have been doing this for years, and down the street) with old friends and colleagues and just talk- some go to gaming conventions solely for the purpose of run- ing shop. ning games. They really enjoy it, they’re really good, and they Conventions are business, but they are also fun. really know the rules. I came out of WINTER FANTASY with a higher respect for the Now the Network drops into GENCON gear. Tournaments are people who run these things. TSR’s new convention coordina- being readied and judges are signing up. -
Get Kindle Saga of the Swamp Thing: Book 4
WJQ51AHZO0RV « PDF > Saga of the Swamp Thing: Book 4 Saga of th e Swamp Th ing: Book 4 Filesize: 9.32 MB Reviews This publication is indeed gripping and interesting. It is rally exciting throgh reading period of time. I am just happy to inform you that this is the very best publication i actually have go through during my individual existence and could be he finest pdf for ever. (Miss Lela VonRueden) DISCLAIMER | DMCA IVU4HUHNEH2I < Kindle < Saga of the Swamp Thing: Book 4 SAGA OF THE SWAMP THING: BOOK 4 DC Comics. Paperback. Condition: New. Stan Woch (illustrator). 224 pages. Dimensions: 10.1in. x 6.6in. x 0.6in.Continuing the hardcover collection of master comics writer Alan Moores award-winning run on THE SAGA OF THE SWAMP THING, this fourth volume brings Swamp Things quest for self- discovery with the mystic John Constantine to its shattering conclusion. A harbinger of doom has been released with the sole charge of waking an evil beyond comprehension, and Swamp Thing, John Constantine, Deadman, The Phantom Stranger, Etrigan the Demon, The Spectre and other masters of the occult must unite against the dark forces that threaten to eradicate Heavens light. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Read Saga of the Swamp Thing: Book 4 Online Download PDF Saga of the Swamp Thing: Book 4 MEGAW8AZMLA1 < Book // Saga of the Swamp Thing: Book 4 Oth er PDFs The genuine book marketing case analysis of the the lam light. Yin Qihua Science Press 21.00(Chinese Edition) paperback. -
Of Gods and Monsters: Signification in Franz Waxman's Film Score Bride of Frankenstein
This is a repository copy of Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/118268/ Version: Accepted Version Article: McClelland, C (Cover date: 2014) Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. Journal of Film Music, 7 (1). pp. 5-19. ISSN 1087-7142 https://doi.org/10.1558/jfm.27224 © Copyright the International Film Music Society, published by Equinox Publishing Ltd 2017, This is an author produced version of a paper published in the Journal of Film Music. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Paper for the Journal of Film Music Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein Universal’s horror classic Bride of Frankenstein (1935) directed by James Whale is iconic not just because of its enduring images and acting, but also because of the high quality of its score by Franz Waxman. -
From Stories to Worlds: the Continuity of Marvel Superheroes from Comics to Film
From Stories to Worlds: The Continuity of Marvel Superheroes from Comics to Film David Sweeney, June 2013 Before its 2011 re-launch as the ‘New 52’ DC Comics’ advertising campaigns regularly promoted their inter-linked superhero line as ‘The Original Universe’. As DC did indeed publish the first ‘superteam’, the JSA (in All-Star Comics 3, Winter 1940), this is technically correct; however, the concept of a shared fictional world with an on-going fictive history, what comic book fans and professionals alike refer to as ‘continuity’, was in fact pioneered by DC’s main competitor, Marvel Comics, particularly in the 1960s. In this essay I will discuss, drawing on theories and concepts from the narratologists David A. Brewer and Lubomir Dolezel and with particular focus on the comic book writer Roy Thomas, how Marvel Comics developed this narrative strategy and how it has recently been transplanted to cinema through the range of superhero films produced by Marvel Studios. Superhero Origins Like DC, Marvel emerged from an earlier publishing company, Timely Publications, which had produced its own range of superheroes during the so-called ‘Golden Age of superhero comics, ushered in by the debut of Superman in Action Comics 1 in June, 1938) and lasting until the end of World War II, including Namor the Submariner, Captain America, and The Human Torch. Superhero comics declined sharply in popularity after the War and none of these characters survived the wave of cancellations that hit the genre; however, they were not out of print for long. Although -
Cienegas Vanishing Climax Communities of the American
Hendrickson and Minckley Cienegas of the American Southwest 131 Abstract Cienegas The term cienega is here applied to mid-elevation (1,000-2,000 m) wetlands characterized by permanently saturated, highly organic, reducing soils. A depauperate Vanishing Climax flora dominated by low sedges highly adapted to such soils characterizes these habitats. Progression to cienega is Communities of the dependent on a complex association of factors most likely found in headwater areas. Once achieved, the community American Southwest appears stable and persistent since paleoecological data indicate long periods of cienega conditions, with infre- quent cycles of incision. We hypothesize the cienega to be an aquatic climax community. Cienegas and other marsh- land habitats have decreased greatly in Arizona in the Dean A. Hendrickson past century. Cultural impacts have been diverse and not Department of Zoology, well documented. While factors such as grazing and Arizona State University streambed modifications contributed to their destruction, the role of climate must also be considered. Cienega con- and ditions could be restored at historic sites by provision of ' constant water supply and amelioration of catastrophic W. L. Minckley flooding events. U.S. Fish and Wildlife Service Dexter Fish Hatchery Introduction and Department of Zoology Written accounts and photographs of early explorers Arizona State University and settlers (e.g., Hastings and Turner, 1965) indicate that most pre-1890 aquatic habitats in southeastern Arizona were different from what they are today. Sandy, barren streambeds (Interior Strands of Minckley and Brown, 1982) now lie entrenched between vertical walls many meters below dry valley surfaces. These same streams prior to 1880 coursed unincised across alluvial fills in shallow, braided channels, often through lush marshes. -
MARCH 1St 2018
March 1st We love you, Archivist! MARCH 1st 2018 Attention PDF authors and publishers: Da Archive runs on your tolerance. If you want your product removed from this list, just tell us and it will not be included. This is a compilation of pdf share threads since 2015 and the rpg generals threads. Some things are from even earlier, like Lotsastuff’s collection. Thanks Lotsastuff, your pdf was inspirational. And all the Awesome Pioneer Dudes who built the foundations. Many of their names are still in the Big Collections A THOUSAND THANK YOUS to the Anon Brigade, who do all the digging, loading, and posting. Especially those elite commandos, the Nametag Legionaires, who selflessly achieve the improbable. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – The New Big Dog on the Block is Da Curated Archive. It probably has what you are looking for, so you might want to look there first. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – Don't think of this as a library index, think of it as Portobello Road in London, filled with bookstores and little street market booths and you have to talk to each shopkeeper. It has been cleaned up some, labeled poorly, and shuffled about a little to perhaps be more useful. There are links to ~16,000 pdfs. Don't be intimidated, some are duplicates. Go get a coffee and browse. Some links are encoded without a hyperlink to restrict spiderbot activity. You will have to complete the link. Sorry for the inconvenience. Others are encoded but have a working hyperlink underneath. Some are Spoonerisms or even written backwards, Enjoy! ss, @SS or $$ is Send Spaace, m3g@ is Megaa, <d0t> is a period or dot as in dot com, etc. -
Serial Historiography: Literature, Narrative History, and the Anxiety of Truth
SERIAL HISTORIOGRAPHY: LITERATURE, NARRATIVE HISTORY, AND THE ANXIETY OF TRUTH James Benjamin Bolling A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2016 Approved by: Minrose Gwin Jennifer Ho Megan Matchinske John McGowan Timothy Marr ©2016 James Benjamin Bolling ALL RIGHTS RESERVED ii ABSTRACT Ben Bolling: Serial Historiography: Literature, Narrative History, and the Anxiety of Truth (Under the direction of Megan Matchinske) Dismissing history’s truths, Hayden White provocatively asserts that there is an “inexpugnable relativity” in every representation of the past. In the current dialogue between literary scholars and historical empiricists, postmodern theorists assert that narrative is enclosed, moribund, and impermeable to the fluid demands of history. My critical intervention frames history as a recursive, performative process through historical and critical analysis of the narrative function of seriality. Seriality, through the material distribution of texts in discrete components, gives rise to a constellation of entimed narrative strategies that provide a template for human experience. I argue that serial form is both fundamental to the project of history and intrinsically subjective. Rather than foreclosing the historiographic relevance of storytelling, my reading of serials from comic books to the fiction of William Faulkner foregrounds the possibilities of narrative to remain open, contingent, and responsive to the potential fortuities of historiography. In the post-9/11 literary and historical landscape, conceiving historiography as a serialized, performative enterprise controverts prevailing models of hermeneutic suspicion that dominate both literary and historiographic skepticism of narrative truth claims and revives an ethics responsive to the raucous demands of the past. -
Dragon Magazine #158
S PECIAL ATTRACTIONS Issue #158 Vol. XV, No. 1 9 Weve waited for you: DRAGONS! June 1990 A collection of lore about our most favorite monster. The Mightiest of Dragons George Ziets Publisher 10 In the D&D® game, no one fools with the dragon rulers and lives for James M. Ward long. Editor A Spell of Conversation Ed Friedlander Roger E. Moore 18 If youd rather talk with a dragon than fight it, use this spell. The Dragons Bestiary The readers Fiction editor Barbara G. Young 20 The gorynych (very gory) and the (uncommon) common dragonet. Thats Not in the Monstrous Compendium! Aaron McGruder Assistant editor 24 Remember those neutral dragons with gemstone names? Theyre 2nd Dale A. Donovan Edition now! Art director Larry W. Smith O THER FEATURES Production staff The Game Wizards James M. Ward Gaye OKeefe Angelika Lokotz 8 Should we ban the demon? The readers respondand how! Subscriptions Also Known As... the Orc Ethan Ham Janet L. Winters 30 Renaming a monster has more of an effect than you think. U.S. advertising The Rules of the Game Thomas M. Kane Sheila Gailloreto Tammy Volp 36 If you really want more gamers, then create them! The Voyage of the Princess Ark Bruce A. Heard U.K. correspondent 41 Sometimes its better not to know what you are eating. and U.K. advertising Sue Lilley A Role-players Best Friend Michael J. DAlfonsi 45 Give your computer the job of assistant Dungeon Master. The Role of Computers Hartley, Patricia and Kirk Lesser 47 The world of warfare, from the past to the future. -
The Dwarvenhold Campaign Geography
The Dwarvenhold Campaign Geography Domain Name: Deep Root This is the region of the underdark in which you live. It includes areas of dwarf, drow and deep gnome control. A domain is the equivalent of an island. City-State: DwarvenHold DwarvenHold is the name of the city-state of the mountain dwarves. It includes mines, giant caverns with conventional buildings, and dwellings built along caverns that dig deep into the surrounding area. Dwarvenhold feeds itself on miles of cavern-corrals, caves used for fungus cultivation. There are also multiple lakes stocked with cave fish. Dwarvenhold is formed in concentric circles. The innermost circle, called the Great Hall, is a giant cavern with conventional buildings. The center of the Great Hall is The Courtyard, a vast cavern where the king holds his audience. A giant stalactite lies in the center of the cavern and reaches nearly to the ceiling, hundreds of feet above. The stalactite has been hollowed out and used as the seat of power for the city-state. Many younger dwarves live in the Courtyard, preferring its new style of dwarven architecture and constant activity. Many of these dwarves live in apartments carved into the cavern walls. The apartments extend nearly a hundred feet up from the surface. Concentric circles of caverns extend out from The Courtyard. Those with wealth and power tend to live in inner circles, while outer circles are used for mining, poorer housing and military outposts. The farther away from The Great Hall, the more dangerous it is. There are well established routes, considered roads within the kingdom, as well as private caverns and routes that are off limits to those who don't belong. -
The Panama Canal Review Is Published Twice a Year
UNIVERSITY OF FLORIDA LIBRARIES m.• #.«, I i PANAMA w^ p IE I -.a. '. ±*L. (Qfx m Uu *£*£ - Willie K Friar David S. Parker Editor, English Edition Governor-President Jose T. Tunon Charles I. McGinnis Editor, Spanish Edition Lieutenant Governor Writers Eunice Richard, Frank A. Baldwin Fannie P. Hernandez, Publication Franklin Castrellon and Dolores E. Suisman Panama Canal Information Officer Official Panama Canal the Review will be appreciated. Review articles may be reprinted without further clearance. Credit tu regular mail airmail $2, single copies 50 cents. The Panama Canal Review is published twice a year. Yearly subscription: $1, Canal Company, to Panama Canal Review, Box M, Balboa Heights, C.Z. For subscription, send check or money order, made payable to the Panama Editorial Office is located in Room 100, Administration Building, Balboa Heights, C.Z. Printed at the Panama Canal Printing Plant, La Boca, C.Z. Contents Our Cover The Golden Huacas of Panama 3 Huaca fanciers will find their favor- the symbolic characters of Treasures of a forgotten ites among the warrior, rainbow, condor god, eagle people arouse the curiosity and alligator in this display of Pan- archeologists around the of ama's famous golden artifacts. world. The huacas, copied from those recov- Snoopy Speaks Spanish 8 ered from the graves of pre-Columbian loaned to The In the phonetics of the fun- Carib Indians, were Review by Neville Harte. The well nies, a Spanish-speaking dog known local archeologist also provided doesn't say "bow wow." much of the information for the article Balseria 11 from his unrivaled knowledge of the Broken legs are the name of subject—the fruit of a 26-year-long love affair with the huaca, and the country the game when the Guaymis and people of Panama, past and present.