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Dragon Magazine #182
Issue #182 Vol. XVII, No. 1 SPECIAL ATTRACTIONS Dragons: the lords of fantasy June 1992 9 Our annual tribute to our namesakeslong may they live! Publisher Not Cheaper by the Dozen Spike Y. Jones James M. Ward 10 Twelve of the DRAGONLANCE® sagas most egg-citing creations. Editor The Vikings' Dragons Jean Rabe Roger E. Moore 17 Linnorms: the first of a two-part series on the Norse dragons. The Dragons Bestiary Gregory Detwiler Associate editor 25 unhealthy branches of the dragon family tree. Dale A. Donovan Fiction editor F ICTION Barbara G. Young The Dragonbone Flute fiction by Lois Tilton Editorial assistant 84 He was a shepherd who loved musicbut he loved his audience more. Wolfgang H. Baur Art director R EVIEWS Larry W. Smith The Role of Computers Hartley, Patricia, and Kirk Lesser 55 From Mars to the stars: two high-powered science-fiction games. Production staff Gaye O'Keefe Angelika Lokotz Role-playing Reviews Lester Smith Tracey Zamagne Mary Roath 96 Now you can be the smallest of creatures or the most powerful. Through the Looking Glass Robert Bigelow Subscriptions\t 112 A collection of draconic wonders, for gaming or display. Janet L. Winters U.S. advertising O THER FEATURES Roseann Schnering Novel Ideas James Lowder 34 Two new horrific novels, spawned in the mists of Ravenloft. U.K. correspondent The Voyage of the Princess Ark Bruce A. Heard and U.K. advertising 41 This month, the readers questions take center stage. Bronwen Livermore The Wild, Wild World of Dice Michael J. DAlfonsi 45 Okay, so how many six-sided dice do you own? Kings of the Caravans Ed Greenwood 48 A land like the Forgotten Realms requires tough merchants! Dragonslayers on the Screen Dorothy Slama 62 Some handy guidelines for letting your computer be your DM. -
Oblivion's Edge Jeremy Strandberg
Lawrence University Lux Lawrence University Honors Projects 5-12-1998 Oblivion's Edge Jeremy Strandberg Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Fiction Commons, and the Liberal Studies Commons © Copyright is owned by the author of this document. Recommended Citation Strandberg, Jeremy, "Oblivion's Edge" (1998). Lawrence University Honors Projects. 53. https://lux.lawrence.edu/luhp/53 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact [email protected]. ivion's Jeremy Strandberg Submitted for Honors in Independent Study 5/12/98 Prof. Candice Bradley, Advisor The year is 2042 ... ( Tech no Io g y i s a part of us ... High tech is stylish and chic. Computers have crept into every aspect of life, and billions of users are jacked brain frrst into the internet. Biosculpting can make people look any way they desire. Cybernetic implants-eyes, ears, and prosthetic limbs-break the limits of the human form. Biotechnology feeds billions while saving the lives of millions more. The train from New York to Miami takes under three hours, and there's a bustling tourist trade on Luna. The Veil has thinned ... Supernatural and paranormal phenomena are on the rise. There has been a resurgence of spirituality and superstition. Meditation is taught in grade school Psychic powers are accepted as fact, and most people have encountered a ghost or spirit at least once. Alchemists and fringe scientists are kept on salary by corporations. -
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. -
An "Official" Spelljammer Guide to the Spheres [Revised 1.0]
Guide to the Spheres An "official" Spelljammer Guide to the Spheres [revised 1.0] By Paul Westermeyer aka GMWestermeyer Table of Contents: Page Section 1 Introduction 2 Phlogiston Navigation 4 Phlogiston Transit Times 4 Where is the Rock of Bral? 6 “Official” Flow Map 7 The Spheres and other Phlogiston Locations 23 ‘Loose’ Planets/Worlds 34 Bibliography: Introduction Spelljammer is a very unique and creative setting, but it is also one of the worst organized settings TSR produced with material is scattered among many different products. This makes it very difficult to find what you are looking for, a problem exasperated by Spelljammer’s status as a ‘connection’ campaign, designed (like Planescape) to connect the ‘big’ three settings, Forgotten Realms, Greyhawk, and Dragonlance. I’ve been working to alleviate this problem by writing guides and indices for those aspects of Spelljammer that are most important for creating a coherent, rational game setting. The first of these guides was An “Official” Spelljammer Timeline, which collated Spelljammer-related historical mentions in published TSR products into a cohesive, coherent timeline that Spelljammer (or Hackjammer) gamemasters could use as the foundation of their own, personalized campaigns. This guide, An “Official” Spelljammer Guide to the Spheres, has a similar purpose. Spelljammer’s iconic center is the Rock of Bral, just as Sigil is the iconic heart of Planescape, Spelljammer’s setting cousin, but Sigil’s location is quite firmly placed at the center of the Plane of Concordant Opposition, metaphorically the heart of the entire Advanced Dungeons and Dragons multiverse. Moreover, the various inner and outer planes are all well mapped in relation to each other, and have been ever since the Advanced Dungeons and Dragons Player’s Handbook in 1978. -
BEYOND the EDGE Inside the Edgerunner Altcult C Ontents ST ILL
EDGEBOOK1a.qxd 12/19/07 12:06 PM Page 1 InsideInside thethe EdgerunnerEdgerunner AltcultAltcult Sample file THE CYBERPUNKS RETURN TO NIGHT CITY BEYOND THE EDGE 2 InsideInside thethe EdgerunnerEdgerunner AltcultAltcult MEE T TH E CAS T , CRE W AN D TH E LEG A L STU F F Cre w Co n t e n t s Wr i t e r s STI L L ON THE EDG E IN 20 3 X Ken MacKriell RIS E OF THE ‘R UN N E R S : THE KNO W N HIS T O R Y.. 4 Mike Pondsmith THE SEC R E T HIS T O R Y OF THE EDG E R U N N E R S .. 8 WHO RUN S THE EDG E R U N N E R S ? .. .1 3 Cover & Illustrations LEA D E R S .. .1 4 Jay Libby DYL A N MUR P H Y .. .1 4 Otto Blix SET H MEN D E Z .. .1 6 Mike Pondsmith MON I C A CHE U N G .. .1 8 VID A -M AR I A WES T .. .1 9 Layout & Design “P RI N C E ” LEO BAK H T I A R .. .2 1 VIN C E N T “S IL K ” FOU C A U L T.. .2 2 Mike Pondsmith THE PLAY E R S .. .2 4 Ty p o g r a p h y FATH E R KEV I N SUL L I VA N .. .2 4 Ted Tal s o r i a n OLE G MIK H A I L O V . -
Journal of Interactive Drama
ISSN 1994-1250 J I D Journal of Interactive Drama A Multi-Discipline Peer-Reviewed Journal of Scenario-Based Theatre-Style Interactive Drama Freeform Live Action Roleplaying Games Volume Four, Issue One November 2011 Interactive Drama Archive J I D Journal of Interactive Drama http://www.interactivedramas.info/journal.htm A Multi-Discipline Peer-Reviewed Journal of Scenario-Based Theatre-Style Interactive Drama Freeform Live Action Roleplaying Games Volume Four, Issue One November 2011 Interactive Drama Archive http://www.interactivedramas.info ISSN 1994-1250 Journal of Interactive Drama A Multi-Discipline Peer-Reviewed Journal of Scenario-Based Theatre-Style Interactive Drama Volume 4.1, November 2011 Contents I HAVE TO RECALL SOME REAL CHARACTERS: Status and Imagination in 1 Outcomes Based Education C.A. DeCoursey Hong Kong Polytechnic AN ELLIPTICAL PILGRIMAGE OF ASCENT: USING DECONSTRUCTIVE 26 PEDAGOGY TO DESIGN TOURIST MARKERS AT HIGH-LEVEL OBSERVATORIES Jerry C. Jaffe University of Otago INTERACTIVE PYNCHON: Teaching Thomas Pynchon's Crying of Lot 49 with 37 Roleplaying Games Brian David Phillips National Chengchi University, Taiwan THE USE OF STRUCTURED GOAL SETTING IN SIMULATION DESIGN 51 Stephen R. Balzac Organizational Consultant and Business Coach 7 Steps Ahead A Critical Appreciation of THE GREEN BOOK by Nathan Hook 59 Michael Cheng National Chengchi University, Taiwan JOKER QUEST: A Storytelling Interactive Drama Scenario for one player 63 Nathan Hook The Open University, United Kingdom Call for Papers and Notes for Contributors 69 Journal of Interactive Drama J I D Journal of Interactive Drama A Multi-Discipline Peer-Reviewed Journal of Scenario-Based Theatre-Style Interactive Drama Freeform Live Action Roleplaying Games Editor Scott Beattie , PhD Staff and Curriculum Development, Victoria University, Melbourne, Australia Editorial Board Michael C. -
Corso Di Laurea Magistrale in Antropologia Culturale, Etnologia Ed Etnolinguistica
Corso di Laurea magistrale in Antropologia Culturale, Etnologia ed Etnolinguistica Tesi di Laurea “Avevamo in mente interi universi” proposta di analisi socio-culturale ed etnografica del gioco di ruolo analogico contemporaneo Relatrice / Relatore Ch.ma Prof.ssa Franca Tamisari Correlatrice/Correlatore Ch.ma Prof.ssa Valentina Bonifacio Ch.ma Prof.ssa Donatella Schmidt Laureando Marco Turci Matricola 826746 Anno Accademico 2018 / 2019 1 Indice Indice.................................................................................................................................2 1 Introduzione...................................................................................................................5 Incipit: come ho smesso di avere paura e ho iniziato ad amare il “ruolo”......6 Una breve panoramica...................................................................................11 Questioni di metodo e posizionamento..........................................................13 2 Contestualizzazione.....................................................................................................21 “What is a Role-playing Game, anyway?”......................................................21 Il Gioco di Ruolo come fenomeno culturale complesso................................26 Precursori e origine del gioco di ruolo analogico..........................................27 Il contesto culturale delle origini....................................................................34 Una “subcultura” in ascesa.............................................................................37 -
Dragon Rage Game Manual
Dragon Rage Game Manual Read t his first English - V.0.011 Dragon Rage Game Manual Players of Britannia, a strategically deep, four‐player game depicting t he history of Great Britain from t he Roman invasion to t he Norman Conquest, play primarily for entertainment, but some schools use it to teach Dark Ages history. Ot her games are fort hcoming, among t hem an abstract boardgame from Mayfair Games. A former contributing editor to several role‐playing game magazines, and aut hor of over a hundred game magazine articles, he is now Mont hly Contributor to GameCareerGuide and Gamasutra. Designer Biography : These sites, owned by Game Developer Magazine, are t he Dr. Lew Pulsipher started playing premier Web sites for t hose boardgames more t han 50 years interested in video game creation. ago. He designed his own games, t hen discovered strategic He is a contributor to t he books "realistic" gaming wit h early Avalon Hobby Games: t he 100 Best and Hill wargames, and ultimately Family Games: t he 100 Best (Green earned a Ph.D. in military and Ronin), and to t he fort hcoming diplomatic history at Duke Tabletop Game Design (ETC Press). University. His first commercial He is finishing his "howto" book, Get title was published in 1980. He is it Done: Designing Games from designer of Britannia, Dragon Rage, Start to Finish. Valley of t he Four Winds, Swords and Wizardry, and Diplomacy Games "Dr. P’s" "day job" is teaching game & Variants. design and ot her video game creation topics in t he sout heastern After a 20 year hiatus from game US, where he has 17,000 classroom design to teach himself computing hours of experience, mostly and work as a programmer and teaching computing and especially chief of PC support at a major Army computer networking, in college medical center, Lew has come back and graduate school. -
Tabletop Roleplaying Games As Procedural Content Generators
Tabletop Roleplaying Games as Procedural Content Generators Matthew Guzdial Devi Acharya Max Kreminski University of Alberta University of California, Santa Cruz University of California, Santa Cruz Edmonton, Canada Santa Cruz, United States Santa Cruz, United States [email protected] [email protected] [email protected] Michael Cook Mirjam Eladhari Antonios Liapis Queen Mary University of London Södertörn University University of Malta London, United Kingdom Flemingsberg, Sweden Msida, Malta [email protected] [email protected] [email protected] Anne Sullivan Georgia Institute of Technology Atlanta, United States [email protected] ABSTRACT (D&D), an asymmetric game in which players take on roles as either Tabletop roleplaying games (TTRPGs) and procedural content gen- adventurers or the “dungeon master” (DM) - a specific role for a erators can both be understood as systems of rules for producing player who poses challenges to the adventurers[42]. However, there content. In this paper, we argue that TTRPG design can usefully be is a massive variety of TTRPGs, and a large variance in terms of viewed as procedural content generator design. We present several the types of role (or roles) that players take on. case studies linking key concepts from PCG research – includ- In recent years, there has been increasing interest in TTRPGs ing possibility spaces, expressive range analysis, and generative from game artificial intelligence researchers. This research ranges pipelines – to key concepts in TTRPG design. We then discuss the from work such as TTRPGs as a challenge for automated game implications of these relationships and suggest directions for future playing agents [39], to a rich space for AI-assisted tools [16, 33] work uniting research in TTRPGs and PCG. -
Media Translations of Fantasy Worlds
A World of Difference: Media Translations of Fantasy Worlds Rachel Louise Mizsei Ward Doctor of Philosophy University of East Anglia School of Film, Television and Media Studies May 2013 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there-from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Rachel Mizsei Ward University of East Anglia Abstract The modern consumer has access to a massively complex entertainment world. Many of the products available reveal a visible movement of popular fantasy worlds between different media. This transmedia process creates a strong link between film, merchandising and games; with all of these mediums borrowing from each other. This borrowing takes various forms, from licensed adaptations to unofficial copying of ideas, settings and characters as well as exploiting the different aesthetics and techniques of different media. Much of the scholarship on transmedia concentrates on storytelling, where a single overarching narrative unfolds over several different media. This thesis will move away from storytelling to consider how culture producers borrow the aesthetics, narratives and fantasy worlds from other sources, including computer games. This borrowing happens because it enables them to use transmedia functionality to gain market share from an already established audience who have a vested interested in, and enthusiasm for, an established world. Most of this borrowing happens around specific genres – especially fantasy, science fiction and horror. These genres are particularly wide-ranging and emphasise the possibilities of worldbuilding, making then good sources for multi-media franchises. -
Sample File
Sample file HaJJ at= Her<oes Table Of= Cont:e n t:s Introduction ....................................................................................•....................... 2 Major Characters ..................................................................................................... 3-55 Adon .............................................................................................................. 3-4 Alias ............................................................................................................... 5-9 Bruenor Battlehammer ............................................................................................. 10-13 Cyric ............................................................................................................... 14 Doin Sanehiro ..................................................................................................... 16-18 Drizzt Do'Urden ................................................................................................... 19-22 Dragonbait ....................................................................................................... 23-26 Elminster ......................................................................................................... 27-33 Kelemvor ......................................................................................................... 34-37 Prince Tristan Kendrick ............................................................................................. 38-41 Midnight ........................................................................................................ -
Tabletop Role-Playing Games and the Experience of Imagined
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Texas A&M Repository THE GREATEST UNREALITY: TABLETOP ROLE-PLAYING GAMES AND THE EXPERIENCE OF IMAGINED WORLDS A Dissertation by NICHOLAS J. MIZER Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Tom Green Committee Members, Harris Berger Vaughn Bryant Travis Dubry Head of Department, Cynthia Werner December 2015 Major Subject: Anthropology Copyright 2015 Nicholas J. Mizer ABSTRACT Drawing on four years of participant observation, interviews, and game recordings, this dissertation explores the collaborative experience of imagined worlds in tabletop role- playing games such as Dungeons & Dragons. Research on tabletop games has at times been myopic in terms of time depth and geographic scope, and has often obscured the ethnographic realities of gaming communities. This research expands the ethnographic record on tabletop role-playing games and uses a phenomenological approach to carefully examine how gamers at five sites across the United States structure their experience of imagined worlds in the context of a productive tension between enchantment and rationalization. After discussing the history of Dungeons & Dragons in terms of enchantment and rationalization, the dissertation presents three case studies, each exploring a different facet of experience in imagined worlds. At a convention in Lake Geneva, Wisconsin, gamers commemorate the life of Dungeons & Dragons co-creator Gary Gygax, but also their own childhoods and a sense of a lost, imagined pre-modern world.