DOCSLIB.ORG

Witch Spells, Level 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Witch Spells, Level 3 Witch Spells III By Keith Davies Sample file Sample file Open Gaming License Declarations Product Identity The following items are hereby identified as Product Identity, as defined in the Open GameLi- cense 1.0a, Section 1(e), and are not Open Content: All trademarks, registered trademarks, proper names (charac- ters, deities, etc.), dialogue, plots, storylines, locations, characters, artworks (including diagrams), and trade dress. (Elements that have previously been designated as Open Game Content are not included in this declaration.) Open Content Except for material designated as Product Identity (see above), the game mechanics of this Ech- elon Game Design game product are Open Game Content, as defined in the Open Game License version 1.0a Sec- tion 1(d). No portion of this work other than the material designated as Open Game Content may be reproduced in any form without written permission. Pathfinder Compatibility License Declarations Compatibility with the Pathfinder Roleplaying Game requires the Pathfinder Roleplaying Game from Paizo Inc. See http://paizo.com/pathfinderRPG for more information on the Pathfinder Roleplaying Game. Paizo Inc.does not guarantee compatibility, and does not endorse this product. Pathfinder is a registered trademark of Paizo Inc., and the Pathfinder Roleplaying Game and the Pathfinder Roleplaying Game Compatibility Logo are trademarks of Paizo Inc., and are used under the Pathfinder Roleplaying Game Compatibility License. See http://paizo.com/pathfind- erRPG/compatibility for more information on the compatibility license. Art Credits Cover Art Gary Dupuis Contents Contents i About the Echelon Reference Series 1 Witch Spell List 3 3rd-Level Witch Spells 10 Index 71 Open Game License 75 Sample file i Sample file About the Echelon Reference Series Since August 2009, the Pathfinder Roleplaying Game Rough and Fast (RAF) has grown immensely. I have several feet on my shelves The RAF version gathers the content and organizes it. full of books from Paizo Publishing. The third-party It does not include the diagrams or useful redundancy, publisher section of my RPG shelves is much smaller… and might not even include all my editing and markup mostly because I get most of my third-party content in changes. It has the game elements as originally de- PDF form. fined (archetype definitions only, “modifies that class To get the full view of a particular topic, one might in these ways”. have to look in over a dozen hardcover books, a smaller number of softcover books, and work through poten- Sales Information When the RAF is the only version tially dozens or hundreds of PDFs. To put it mildly, this in the store, the title is available at a 50% discount on can be daunting, and is certainly inconvenient. the final price. When the WIP and Final versions are re- To make it easier, I collect all the material for a sin- leased, they are added to the title as updates, you do gle topic into a single document. The information is not need to pay for the upgrade. gathered, organized by type, and consistently format- ted. Where there are relationships between game ele- Work in Progress (WIP) ments (especially prerequisites, as for feats) I create di- agrams illustrating those relationships. The WIP version typically includes many diagrams and at least some of the useful redundancy. A class book Sampleprobably file doesn’t include the archetype classes, but Multiple Versions might include fully-defined subdomains. Almost all Echelon Reference Series titles come in two Sales Information When the WIP is in the store, the versions, ‘PRD-Only’ and ‘3pp+PRD’. title is available at a 25% discount on the final price. The WIP version comes with the RAF version as a sec- PRD-Only These releases contain information only ond PDF.When the Final version is released, it is added from the PRD, with no third-party content. to the title as an update, you do not need to pay for the 3pp+PRD These releases contain information from upgrade. the PRD, and select third-party content. Final Multiple Releases This version includes the diagrams and the useful re- These books don’t just gather and organize the infor- dundancy. mation. Between the ‘added redundancy’ (which in- Sales Information At this point the document is ‘fin- volves writing) and the diagrams (which need to be cre- ished’ (at least until I add more content). The ‘not-yet- ated), there is a lot of work done before the final version done’ discount is no longer present, but the title in- is ready. I have adopted a ‘staged release’ model. cludes the Final, WIP, and RAF releases as additional I release each title in three versions, described be- PDFs. low. Once you buy any of them you will get the others as updates when I release them. Also, I use the same source files for all versions. Im- proving the source files for a later release means the earlier releases can get the same improvements. 1 About the Echelon Reference Series Bundles Duplicate Names I also bundle the titles. There is an “all ERS” bundle It’s not uncommon that people describing similar that includes all titles, but I also do smaller bundles ideas come up with similar names. The name of a feat where two titles have a lot of overlap. For instance, the that allows a cavalier to issue more challenges in a day cleric and inquisitor both use the same domains, and would quite naturally be ‘Extra Challenges’ or ‘Extra the domains chapters are quite large. I will likely have Challenge’.In fact, two publishers each published a feat an ‘Agents of Faith’ bundle that includes these two ti- named ‘Extra Challenge’… but one version gives one tles, and probably my ‘Hybrid Domains’ book (when extra challenge per day, and the other gives two. that’s done). In most cases I keep both versions. Sometimes like- Sales Information Bundles are typically priced at named objects are wildly different. Sometimes they are ‘25% off’. For RAF and WIP titles, that isan additional very close but with some substantive change (the Extra 25% off: titles in RAF are at a 75% discount and titles Challenge feats mentioned above). In a few fairly rare in WIP are at a 50% discount, instead of 50% and 25% cases the objects are seemingly identical, but I have not respectively. been very aggressive in identifying these cases and re- moving one, instead treating them as ‘parallel evolu- tion’. Redundancy When I find a name collision like this, I usually ap- pend a short string to the end of the name of each ob- Each book aims to stand alone as a definitive and ject. This string might be the publisher’s name or ini- exhaustive reference for the material being covered. tials, or the source book’sname or initials. For instance, This has some effect on the content of the documents across the series. ‘Rite’ for objects published by Rite Publishing ² ‘PDG’ for Purple Duck Games Redundancy Between Books ² ‘RGG’ for Rogue Genius Games Because each book is created to be a complete refer- ² ence on a topic, if two books each refer to the same ma- ‘ToHC’ for Tome of Horrors Complete terial that material is present in both books. The sor- ² cerer and wizard classes share a spell list, so the spell ‘BoLS’ for Book of Lost Spells ² list is included in both books. Similarly, druids and rangers both get animal companions, so both books I usually don’t identify the source of each game ele- have a chapter containing all the animal companions.Samplement file (though I do plan to release a ‘Grand Concor- Where two topics are tightly intertwined or basi- dance’ spreadsheet showing where everything can be cally overlap, such as the rogue and ninja classes, I usu- found). I used strings such as those shown above be- ally just put them in the same book. cause it’s easier to be consistent when adding them. There are exceptions to the process. Redundancy Within a Book The PRD always has precedence. If a third-party ² The Pathfinder Roleplaying Game uses quite a bit of publisher and the PRD each contain a spell or ‘design by exception’. That is, many game elements are a feat with the same name, the third-party pub- defined as “like that, except”. Spells often do this, but lisher’s name is changed and the PRD version is so do archetypes (modifying classes) and class features not changed. (subdomains modifying domains is probably the most If provenance seems clear I choose one of them common). ² to be the ‘master version’ and remove the other. In many cases I ‘add useful redundancy’ by apply- Both Tome of Horrors Complete and Advanced ing the changes to the base element and present the re- Bestiary copy creature type and subtype defini- sult. Instead of a spell being “like that other spell except tions from the PRD. as shown above” (the changed stat block) I might get the spell information from ‘the other spell’ and com- If an element has been superseded I keep the ² plete the stat block, and possibly copy the spell de- newer one. The Pathfinder® Roleplaying Game: scription. For archetypes, I apply each archetype to the Advanced Class Guide™ updates the Extra Chan- base class and present the result as an ‘archetype class’ nel feat from the Pathfinder® Roleplaying Game so the reader can see what the class looks like with the Core Rulebook™ to take into account the war- archetype applied. priest class. 2 Witch Spell List Witch Spell Casting is 10 + the spell level + the witch’s Intelligence modifier. A witch can cast only a certain number of spells of A witch casts arcane spells drawn from the witch spell each spell level per day.
Load more

Recommended publications
  • Kansas City Athenaeum Collection (SC160)
    THE KANSAS CITY PUBLIC LIBRARY Kansas City Athenaeum Collection (SC160) Introduction Founded in 1894 through a collaboration of existing women’s clubs, the Kansas City Athenaeum is one of the oldest women’s organizations in the area. The Kansas City Athenaeum Collection contains minutes, yearbooks, scrapbooks, photographs, operational and financial records, clubhouse information and building plans, and ephemera documenting the history of the club. Descriptive Summary Creator: Kansas City Athenaeum Title: Kansas City Athenaeum Collection Dates: 1894-2012 Size: 124.25 linear feet, 230 boxes, 106 loose volumes, 1 map drawer Collection Number: SC160 Donor Information Gift, 2012, Kansas City Athenaeum. Citation Note Kansas City Athenaeum Collection (SC160), Missouri Valley Special Collections, Kansas City Public Library, Kansas City, Missouri. Administrative Information Additional Forms Available: Use copies are available for scrapbooks. Related Collections: Additional information concerning the Athenaeum may be found in SC7 Missouri Valley Historical Society Records, as well as the following Vertical Files: Clubs – Kansas City – Athenaeum; and Buildings – Athenaeum Club. Club yearbooks may be found under the call number MVSC 095.2 K16Y V.1895-1956. Other sources concerning the club, its members, and additional women’s organizations may be found by searching the Missouri Valley Special Collections local history collections and the main Library Catalog. Historical Sketch The Kansas City Athenaeum is one of the oldest women’s organizations in Kansas City. Established in the 1894, the initial goal of the Athenaeum was to combine the efforts of several existing women’s clubs into a single organization through which its members would more effectively promote and influence a variety of educational, civic, and philanthropic causes.
    [Show full text]
  • Liminal Periods in the Udmurt Ritual Year
    AADO LINTROP Estonian Folklore Archives, Tartu Liminal Periods in the Udmurt Ritual Year In our cultural space we usually imagine our lifetime as a journey. Wayfarer or pilgrim is common metaphor for us as travellers on the road of life. We have several stages or parts on our way and many mental milestones and turns for marking and separating them. Actually we can say that linear time of human life is also structured by the cyclic rhythms of year and day. These contain for us periods of different significance. Holy periods There are interim periods during a person’s lifetime as well as during the calendar year, which are characterised by a state of indefiniteness or being without borders due to lack of everyday boundaries. The times are open to both good and evil and are close to the supernatural. Mental boundaries and landmarks are part of our system of orientation. Without them, space would be homogeneous; there would be no difference between familiar and unfamiliar, good and evil, sacred and profane places. It is the same with time. The expressions good times, hard times, crazy times, fast times, holiday time, everyday time, childhood, youth, manhood etc. contain obvious judgements and defining of limits. Transitions from one time, one period of life, one status to another are kind of crossroads or fork in the road in time. As we well know from the mythologies of different peoples, crossroads are liminal places in space where homeless or restless spirits gather and miscellaneous magic will be done (Puhvel 1989). If liminality causes ordinary orientation to be unable to function, then usual behaviour will also turn out to be ineffective or unsuitable.
    [Show full text]
  • Test Your Faerie Knowledge
    Spiderwick Tes t Your Activity Sheet Faerie Knowledge It wasn’t all that long ago that faeries were regarded as the substance of the imagination. Boggarts, Elves, Dragons, Ogres . mankind scoffed at the idea that such fantastical beings could exist at all, much less inhabit the world around us. Of course, that was before Simon & Schuster published Arthur Spiderwick’s Field Guide to the Fantastical World Around You. Now, we all know that faeries truly do exist. They’re out there, occasionally helping an unwary human, but more often causing mischief and playing tricks. How much do you know about the Invisible World? Have you studied up on your faerie facts? Put your faerie knowledge to the test and see how well you do in the following activities.When you’re finished, total up your score and see how much you really know. SCORING: 1-10 POINTS: Keep studying. In the meantime, you should probably steer clear of faeries of any kind. 11-20 POINTS: Pretty good! You might be able to trick a pixie, but you couldn’t fool a phooka. 21-30 POINTS: Wow, You’re almost ready to tangle with a troll! 31-39 POINTS: Impressive! You seem to know a lot about the faerie world —perhaps you’re a changeling... 40 POINTS: Arthur Spiderwick? Is that you? MY SCORE: REPRODUCIBLE SHEET Page 1 of 4 ILLUSTRATIONS © 2003, 2004, 2005 BY TONY DITERLIZZI Spiderwick Tes t Your Activity Sheet Faerie Knowledge part 1 At any moment, you could stumble across a fantastical creature of the faerie world.
    [Show full text]
  • Georgetown University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in German
    “‘ON THE VERGE OF HEARING’: EPISTEMOLOGY AND THE POETICS OF LISTENING IN THE HUMAN-NIXIE ENCOUNTER IN GERMAN LITERATURE” A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in German By Deva Fall Kemmis Hicks, M.A. Washington, DC April 18, 2012 Copyright 2012 by Deva Fall Kemmis Hicks All Rights Reserved ii “‘ON THE VERGE OF HEARING’: EPISTEMOLOGY AND THE POETICS OF LISTENING IN THE HUMAN-NIXIE ENCOUNTER IN GERMAN LITERATURE” Deva Fall Kemmis Hicks, M.A. Thesis Advisor: G. Ronald Murphy, Ph.D. ABSTRACT This dissertation examines selected texts of German literature in which a human being gains access to knowledge outside human scope by means of an encounter with the water nixie, seen in her mythological variations as siren, water sprite, undine, melusine, nymph, or mermaid. Texts to be considered include Das Nibelungenlied (ca. 1200), Johann Wolfgang von Goethe’s “Der Fischer” (ca. 1779), Franz Kafka’s “Das Schweigen der Sirenen” (1917), Ingeborg Bachmann’s “Undine Geht” (1961), and Johannes Bobrowski’s “Undine” (1964). In each of these texts it is not the eyes that play the central role in the epistemological character of the human-nixie encounter, but the ears. In this project I argue that the human posture of attentive listening that precedes the encounter with the nixie indicates a state of readiness that leads to a moment of extraordinary awareness, in which the epistemological experience is transformational. Further, I suggest that poetry plays a pivotal role in the moment of epiphany, or of transformational knowing, for the reader.
    [Show full text]
  • Monster Manual
    CREDITS MONSTER MANUAL DESIGN MONSTER MANUAL REVISION Skip Williams Rich Baker, Skip Williams MONSTER MANUAL D&D REVISION TEAM D&D DESIGN TEAM Rich Baker, Andy Collins, David Noonan, Monte Cook, Jonathan Tweet, Rich Redman, Skip Williams Skip Williams ADDITIONAL DEVELOPMENT ADDITIONAL DESIGN David Eckelberry, Jennifer Clarke Peter Adkison, Richard Baker, Jason Carl, Wilkes, Gwendolyn F.M. Kestrel, William W. Connors, Sean K Reynolds Bill Slavicsek EDITORS PROOFREADER Jennifer Clarke Wilkes, Jon Pickens Penny Williams EDITORIAL ASSITANCE Julia Martin, Jeff Quick, Rob Heinsoo, MANAGING EDITOR David Noonan, Penny Williams Kim Mohan MANAGING EDITOR D&D CREATIVE DIRECTOR Kim Mohan Ed Stark CORE D&D CREATIVE DIRECTOR DIRECTOR OF RPG R&D Ed Stark Bill Slavicsek DIRECTOR OF RPG R&D ART DIRECTOR Bill Slavicsek Dawn Murin VISUAL CREATIVE DIRECTOR COVER ART Jon Schindehette Henry Higginbotham ART DIRECTOR INTERIOR ARTISTS Dawn Murin Glen Angus, Carlo Arellano, Daren D&D CONCEPTUAL ARTISTS Bader, Tom Baxa, Carl Critchlow, Brian Todd Lockwood, Sam Wood Despain, Tony Diterlizzi, Scott Fischer, Rebecca Guay-Mitchell, Jeremy Jarvis, D&D LOGO DESIGN Paul Jaquays, Michael Kaluta, Dana Matt Adelsperger, Sherry Floyd Knutson, Todd Lockwood, David COVER ART Martin, Raven Mimura, Matthew Henry Higginbotham Mitchell, Monte Moore, Adam Rex, Wayne Reynolds, Richard Sardinha, INTERIOR ARTISTS Brian Snoddy, Mark Tedin, Anthony Glen Angus, Carlo Arellano, Daren Waters, Sam Wood Bader, Tom Baxa, Carl Critchlow, Brian Despain, Tony Diterlizzi, Larry Elmore, GRAPHIC
    [Show full text]
  • Wilhelm Müller's Lyrical Song-Cycles
    Wilhelm Müller’s Lyrical Song-Cycles From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Wilhelm Müller’s Lyrical Song-Cycles Interpretations and Texts alan p. cottrell UNC Studies in the Germanic Languages and Literatures Number 66 Copyright © 1970 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Cottrell, Alan P.Wilhelm Müller’s Lyrical Song-Cy- cles: Interpretations and Texts. Chapel Hill: University of North Caroli- na Press, 1970. doi: https://doi.org/10.5149/9781469657240_Cottrell Library of Congress Cataloging-in-Publication Data Names: Cottrell, Alan P. Title: Wilhelm Müller’s lyrical song-cycles : Interpretations and texts / by Alan P. Cottrell. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 66. Description: Chapel Hill : University of North Carolina Press, [1970] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 73635053 | isbn 978-1-4696-5723-3 (pbk: alk. paper) | isbn978-1-4696-5724-0 (ebook) Subjects: Müller, Wilhelm, 1794-1827 — Criticism and interpretation.
    [Show full text]
  • Melusine Machine
    MELUSINE MACHINE The Metal Mermaids of Jung, Deleuze and Guattari [Received January 28th 2018; accepted July 28th 2018 – DOI: 10.21463/shima.12.2.07] Cecilia Inkol York University, Toronto <[email protected]> ABSTRACT: This article takes the image of the feminine water spirit or mermaid as the focus of its philosophical contemplation, using her image as a map to traverse the thought- realms of Jung, Deleuze and Guattari. The feminine, watery symbol in this elaboration acts as the glue that enjoins the ideas of Jung with Deleuze and Guattari and reveals the imbrication of their ideas. Through their streams of thought, the mermaid is formulated as an emblem of technology, as a metaphor that makes reference to the unconscious and its technological involutions, her humanoid-fish form providing an image of thought or way of talking about the transformation of form, and the flitting, swimming valences at work in the unconscious. KEYWORDS: Jung, Deleuze, Guattari, mermaid, nixie, unconscious, technology Introduction This article pivots around a particular image — the feminine water spirit, embodied in her forms of mermaid, nixie 1 or water sprite — through the thought-architectures of the philosophers Jung, Deleuze and Guattari; it traces the filaments that connect these philosophers to this feminine image, as well as to one another, unfurling the imbrication and lineage of their ideas. Within the thought-structures of Deleuze, Guattari and Jung, her fluid figure is elucidated as an emblem of technology, as a metaphor that refers to the unconscious and its technological involutions; her humanoid-fish form providing an image of thought or way of talking about the transformation of form, and the flitting, swimming valences at work in the unconscious.
    [Show full text]
  • THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
    1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour.
    [Show full text]
  • Ordergriffon-Manual
    THANK YOU! Contents THANK YOU for buying this Advanced WARNINGS • Introduction 2 TurboChip Game Card, "Order of the Griffon""'· • The Setting 3 This video game may cause a burn-in Image on your television picture tube. A • Prepari ng for Play 4 burn-in Image Is an Image which is • Names and Functions of Controller Parts 5 permanently burned Into the Inside of the picture tube. Do not leave static or still • The Adventure Begins 6 Images (In pause or play mode) on your • Organizing Parties 7 television screen for extended periods of • Wandering in the Cities 10 time. When playing this game, it is advisable to reduce the screen brightness to help • Wandering in the Field 12 avoid Image burn-in on the picture tube. •Making Camp - -----------------­ 13 2 Be sure that the power is turned off when changing game cards. •Fighting a Battle - ------------------ 17 Before using your new TurboChip game card, 3 This is a precision device and should not be • Suspending Play (Saving Game Data) 20 please read this instruction manual carefully. used or stored under conditions of excessive Familiarize yourself with the proper use of your temperature or humidity. • Specifications 22 TurboGrafx-16 Entertainment SuperSystem, 4 Do not forcibly bend your TurboChip game Weapons, Armor and Other Items 22 precautions concerning its use, and the proper cards. use of this TurboChip game card. Always 5 Do not touch the inside of the terminal area or Spells 24 operate your TurboGrafx-16 SuperSystem and expose the SuperSystem to water, as this this TurboChip game card according to might damage the unit.
    [Show full text]
  • The Femme Fatale As Symbol of the Creative Imagination in Late Victorian Fiction
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1969 The eF mme Fatale as Symbol of the Creative Imagination in Late Victorian Fiction. Larry Thomas Biddison Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Biddison, Larry Thomas, "The eF mme Fatale as Symbol of the Creative Imagination in Late Victorian Fiction." (1969). LSU Historical Dissertations and Theses. 1637. https://digitalcommons.lsu.edu/gradschool_disstheses/1637 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 70-9037 BIDDISON, Larry Thomas, 1936- THE FEMME FATALE AS SYMBOL OF THE CREATIVE IMAGINATION IN LATE VICTORIAN FICTION. The Louisiana State University and Agricultural and Michanical College, Ph.D., 1969 Language and Literature, modem University Microfilms, Inc., Ann Arbor, Michigan THE FEMME FATALE AS SYMBOL OF THE CREATIVE IMAGINATION IN LATE VICTORIAN FICTION A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Larry Thomas Biddison B.A., Texas A & I University, 1958 M.A., Louisiana State University, 1963 August, 1969 ACKNOWLEDGMENTS I wish to express my deep appreciation to Dr. Thomas L. Watson for contributing much to my understanding of both the Victorian and the modern novel, as well as for making many important suggestions concerning this study.
    [Show full text]
  • Savage Species, Playing Monstrous Characters
    SAVAGE SPECIES DAVID ECKELBERRY, RICH REDMAN, JENNIFER CLARKE WILKES ADDITIONAL DESIGN ART DIRECTOR Eric Cagle, Jesse Decker, Jeff Quick, Dawn Murin Sean Reynolds, Skip Williams COVER ART Jeff Easley DEVELOPER Rich Redman INTERIOR ARTISTS Dennis Cramer, Brian Despain, Emily EDITORS Fiegenschuh, Jeremy Jarvis, John and Jennifer Clarke Wilkes, Gwendolyn Laura Lakey, Alan Pollack, Vinod Rams, F.M. Kestrel, Penny Williams Wayne Reynolds, David Roach, Scott Roller, Mark Sasso, MANAGING EDITOR Arnie Swekel, Sam Wood Kim Mohan GRAPHIC DESIGNERS DESIGN MANAGER Sean Glenn, Sherry Floyd, Dawn Murin Ed Stark GRAPHIC PRODUCTION SPECIALIST Angelika Lokotz MANAGING DEVELOPER Richard Baker PROJECT MANAGER Martin Durham CATEGORY MANAGER PRODUCTION MANAGER Anthony Valterra Chas DeLong DIRECTOR OF RPG R&D VICE PRESIDENT OF PUBLISHING Bill Slavicsek Mary Kirchoff Playtesters: Paul Barclay, Randy Buehler, Michael Donais, Andrew Finch, Curt Gould, Robert Kelly, Todd Meyer, Jon Pickens, Monica Shellman, Christine Tromba, Michael S. Webster, Penny Williams Based on the original Dungeons & Dragons® rules created by E. Gary Gygax and Dave Arneson and the new Dungeons & Dragons game designed by Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, and Peter Adkison. This WIZARDS OF THE COAST® game product contains no Open Game Content. No portion of this work may be reproduced in any form without written permission. To learn more about the Open Gaming License and the d20 System® License, please visit www.wizards.com/d20. ® Sources: Dragon magazine #45, FORGOTTEN REALMS® Campaign Setting, Magic of Faerûn, Sword and Fist, Masters of the Wild, Monster Manual, Monster Manual II, Monsters of Faerûn, Oriental Adventures, and Reverse Dungeon. U.S., CANADA, EUROPEAN HEADQUARTERS ASIA, PACIFIC, & LATIN AMERICA Wizards of the Coast, Belgium Wizards of the Coast, Inc.
    [Show full text]
  • Copyrighted Material
    bindex.qxd 2/22/08 8:32 PM Page 211 Index A Almighty One, 66 Abolition of Man,The, xiii, 91, Ancient Greece and Rome, 108 120, 123 Ancient philosophy, academic Absalom, 165 background in, 17 Absolute, the, 17–18 Andersen, H. C., 33, 160 Accidents versus substance, 126 Andrew Ketterley, 10, 58–59, Achilles, 139 62, 92, 95, 98, 99, 101, 123, Acknowledgment, Day of, 82 133, 157, 158, 165 Adam, 34, 38, 45, 74, 89, 112, Androcles and the lion, allusion 130 of, 169 Adept (noun), defined, 164 Anglo-Saxon language, 141 Advertisement, government by, Animal rationale, meaning of, 112 73 Aeschylus, 66 Animals from lumps of earth, Aesop’s fables, 55, 166 164 Alambil, 124 Anodos, 13, 32 Albatross image, 72, 81 Anradin, 51 Alcestis, 52 Anscombe, E., 30 Alice’s Adventures in Wonder- Antichrist, 55, 164 land (Carroll), 35 Anticipation, 109 Allah, 159 Apocalypse, 126 Allegories: biblical parallels ver- Apologizing, 94, 102, 105, sus, 71; supposals versus, 113 64–65, 70 Apothegms, defined, 167 AllegoryCOPYRIGHTED of Love,The, xiii, 16, Apple, MATERIAL temptation involving an, 20, 108 75, 76 Allusions, 15, 163, 164, 166, Applied science, 123 168, 169, 170, 172; names Aquinas,T., xvi, 108 as, 131–135. See also specific Arabian Nights’ Entertain- allusions ments, or The Thousand and 211 bindex.qxd 2/22/08 8:32 PM Page 212 212 Index One Nights (Lane, trans.), 69, 124, 140; as judge, 49–50, 51, 131, 159, 166 82–85; learning about true Arabs, 159 nature of, 49; loving, view- Aravis, 48–49, 101, 102, 155, point on, 85–86; Lucy called 160 by, in the night, 168;
    [Show full text]