Dragon Age RPG Quickstart Guide Is Copyright © 2011 Quickstart Guide Design: Walt Ciechanowski Green Ronin Publishing, LLC
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Steve Jackson
It Takes A Thief. When brute force won’t get the job done, you need someone with . skills. A specialist. Preferably someone who doesn’t let a lot of nagging concerns a b out law or morality get in the way. Whether you’re looking for just the right character to GURPS Basic Set, Third Edi- round out an adventuring party, or a dangerous NPC to tion Revised and GURPS challenge your players, GURPS Rogues has what Compendium I are required to use this book in a GURPS you need – 29 different templates, letting you quickly campaign. While designed create the scoundrel that’s right for the job. for the GURPS system, the Templates include . character archetypes and ! Thieves who are only in it for the money, such as the sample characters in this armed robber, cat burglar, pirate, pickpocket, house- book can be used in any roleplaying setting. breaker, and forger. ! Rogues who have other goals than mere material THE ROGUES’ GALLERY: gain, like the spy, hacker, evil mastermind, mad scientist, and saboteur. Written by Lynette Cowper ! Charmers who work more with people’s minds than with lockpicks and prybars, . the con man, bard, Edited by fixer, gambler, prostitute, and street doctor. Solomon Davidoff ! Mysterious figures who work on the shadowy edges and Scott Haring of society – the tracker, poacher, assassin, Cover by m aster thief, smuggler, mobster, and black marketeer. Ed Cox Each template comes with four complete characters, Illustrated by drawn from a wide range of settings. All told, you Andy B. Clarkson, get 116 ready-to-use sample characters, as well as his- Jeremy McHugh, torical background and information on the Thomas Floyd, Cob Carlos, Bob Cram, t e chnology and tactics that shaped their professions. -
NEW THIS WEEK from MARVEL... Star Wars Vader Dark Visions #1 (Of
NEW THIS WEEK FROM MARVEL... Star Wars Vader Dark Visions #1 (of 5) Amazing Spider-Man #16.HU Avengers #16 (War of Realms) Avengers No Road Home #4 (of 10) Conan the Barbarian #4 Cosmic Ghost Rider Destroys Marvel History #1 (of 6) Uncanny X-Men #13 Domino Hotshots #1 (of 5) Immortal Hulk #14 Age of X-Man Prisoner-X #1 (of 5) Meet the Skrulls #1 (of 5) Star Wars #62 Champions #3 Deadpool #10 Miles Morales Spider-Man #1 (3rd print) Star Wars Age of Republic Padme Amidala #1 Black Order #5 (of 5) Fantastic Four Vol. 1 "Fourever" GN Killmonger #5 (of 5) Immortal Hulk #12 (2nd print) Ziggy Pig Silly Seal Comics #1 Avengers by Jason Aaron Vol. 2 GN Marvel Knights Punisher by Ennis Complete Collection Vol. 2 GN NEW THIS WEEK FROM DC... Detective Comics 80 Years of Batman Deluxe Hard Cover Doomsday Clock #9 (of 12) Batman #66 Green Lantern #5 Justice League #19 Harley Quinn #59 Young Justice #3 Adventures of the Super Sons #8 (of 12) Deathstroke #41 Green Arrow #50 Female Furies #2 (of 6) Dreaming #7 Curse of Brimtstone #12 Suicide Squad Black Files #5 (of 6) Batman & Harley Quinn GN Justice League Dark Vol. 1 GN JLA New World Order Essential Edition GN DC Essentials Batgirl Action Figure NEW THIS WEEK FROM IMAGE... Walking Dead #189 Walking Dead Vol. 31 GN Die #4 Cemetery Beach #7 (of 7) Deadly Class #37 Paper Girls #26 Unnatural #8 (of 12) Self Made #4 Eclipse #13 Vindication #2 (of 4) Last Siege GN Wicked & Divine Vol. -
In- and Out-Of-Character
Florida State University Libraries 2016 In- and Out-of-Character: The Digital Literacy Practices and Emergent Information Worlds of Active Role-Players in a New Massively Multiplayer Online Role-Playing Game Jonathan Michael Hollister Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION & INFORMATION IN- AND OUT-OF-CHARACTER: THE DIGITAL LITERACY PRACTICES AND EMERGENT INFORMATION WORLDS OF ACTIVE ROLE-PLAYERS IN A NEW MASSIVELY MULTIPLAYER ONLINE ROLE-PLAYING GAME By JONATHAN M. HOLLISTER A Dissertation submitted to the School of Information in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Jonathan M. Hollister defended this dissertation on March 28, 2016. The members of the supervisory committee were: Don Latham Professor Directing Dissertation Vanessa Dennen University Representative Gary Burnett Committee Member Shuyuan Mary Ho Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Grandpa Robert and Grandma Aggie. iii ACKNOWLEDGMENTS Thank you to my committee, for their infinite wisdom, sense of humor, and patience. Don has my eternal gratitude for being the best dissertation committee chair, mentor, and co- author out there—thank you for being my friend, too. Thanks to Shuyuan and Vanessa for their moral support and encouragement. I could not have asked for a better group of scholars (and people) to be on my committee. Thanks to the other members of 3 J’s and a G, Julia and Gary, for many great discussions about theory over many delectable beers. -
Flemeth of Dragon Age
JOURNAL OF COMPARATIVE RESEARCH IN ANTHROPOLOGY AND SOCIOLOGY Copyright © The Author, 2015 Volume 6, Number 2, Winter 2015 ISSN 2068 – 0317 http://compaso.eu Powerful elderly characters in video games: Flemeth of Dragon Age Elisabeta Toma1 Abstract As games are becoming an increasingly popular medium in various demographic and professional strata, scholars are discussing their content and how they shape society. However, despite an increase in gender analysis of video games, little has been written about orienting games towards an elderly audience, or game representations of aging and older persons. Games specifically designed for older persons are focused on improving cognitive functions, starting from the assumption that the elderly are in need of special games in order to repair age-related deficits. This repair-focused design philosophy comes at the expense of pursuing a broader understanding of quality of life and non-programmatic entertainment. Games-for-fun that also explicitly target the elderly as an audience are almost invisible. In this article we turn our attention to a powerful elderly feminine character in an AAA game designed for entertainment without a serious mission, namely Flemeth from Dragon Age. We discuss how the game depicts and models older characters: What repertoire of portraits has Flemeth as an old woman, in the Dragon Age games? How does Flemeth contribute to an enlarged repertoire of portrayals of old women in video games? We conclude that Flemeth’s gender and age displays in Dragon Age do not impoverish her portrayal but, on the contrary, turn her into a powerful and complex character, thus offering a model for game design to represent and invite older players. -
Rogueandroid RPG for Android
ROGUEANDROID A Diablo inspired role-playing game for Android University of Illinois CS 428 Professor Darko Marinov Spring 2010 Authors Drew Glass Josh Glovinsky Hyun Soon Kim David Kristola Michael Lai Henry Millson John Svitek 1 CONTENTS RogueAndroid ........................................................................................................................................................................... 1 Figures ..................................................................................................................................................................................... 3 Description ............................................................................................................................................................................ 4 Process .................................................................................................................................................................................... 4 Requirements and Specifications ................................................................................................................................. 7 Choose a Character ........................................................................................................................................................ 7 Displaying and Populating the Dungeon .............................................................................................................. 8 Moving the Character .................................................................................................................................................. -
Ada: a Journal of Gender, New Media, and Technology Issue No. 1 Confronting Toxic Gamer Culture: a Challenge for Feminist Game Studies Scholars
Confronting toxic gamer culture: A challenge for feminist game studies scholars Author(s): Mia Consalvo DOI: 10.7264/N33X84KH URL: http://adanewmedia.org/2012/11/issue1-consalvo Published: 15 November 2012 Copyright © 2012. This work is licensed under a Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License. Ada: A Journal of Gender, New Media, and Technology ISSN 2325-0496 Ada: A Journal of Gender, New Media, and Technology Issue no. 1 Confronting toxic gamer culture: A challenge for feminist game studies scholars Mia Consalvo Concordia University With increasing frequency the ugliness of gamer culture is being put on display for the wider world to see. While I was writing this piece, for example, a Canadian blogger created a game where one can punch and bruise the face of Anita Sarkeesian, creator of the popular website Feminist Frequency: Conversations with Pop Culture (Spurr, 2012). The game was in response to news of her Kickstarter campaign, where she proposed investigating portrayals of women in videogames over the past few decades. The game was only the latest in a string of attacks on Sarkeesian for her proposed project: she also received death threats, had her Wikipedia page defaced with pornographic imagery, and was repeatedly harassed on the Kickstarter page and elsewhere. About a month prior to that, in June 2012 a controversy erupted about Lara Croft’s alleged past in the latest Tomb Raider game, where sexual assault had helped form her character according to one of the game’s developers (Schreier, 2012). In May, the annual videogame expo E3 became the topic of controversy when multiple sources declared it a space hostile to women and juvenile in its approach to games (Alexander, 2012; Williams, 2012). -
What Is IFGS?
What is IFGS? The International Fantasy Gaming Society is a non-profit, Live Action Role Playing (LARP) organization dedicated to having fun! The IFGS has a “class” based rule system which is rich in detail, yet easy to learn and easy to use. If you are not familiar with LARPing, it is one-part improvisational theatre, one- part reenactment, and one-part role- playing game in which the participants actually attempt all of the actions that their characters want to perform in the game Want to sneak past those guards? With the aid of your own physical skills, plus some in-game rules, you get to try to get by unseen. Want to talk the wizard out of his magical staff? Convince him, in character, that he should give it to you. Want to slay that red dragon? Take your sword and attack it. IFGS mixes your real-world abilities with fantastical skills and spells to allow you to live out a new adventure every time you play IFGS games usually involve a Quest of some kind, and YOU are the Hero! You can use you real-world skills, and the skills and abilities of your character’s class to achieve your goal! Combat IFGS games involve a varying amount of mock combat situations. LARP Combat is a whole lot of fun, and is very safe. The rules in force and weapons that are used strongly reinforce the safety of these events. Participants are briefed on safety before each IFGS event, and all events are supervised. The rulebook explains how the combat system works. -
A Song of Ice and Fire Roleplaying Introduction
By Robert J. Schwalb Game Concepts: STEVE KENSON, NICOLE LINDROOS, CHRIS PRAMAS, & ROBERT J. SCHWALB Additional Design: JOE CARRIKER & JESSE SCOBLE Development: STEVE KENSON Development Assistance: CHRIS PRAMAS Editing: KARA HAMILTON Peril at King’s Landing Design: Steve Kenson Additional PaKL Design: R. Kevin Doyle, Jon Leitheusser, Nicholas Logue Proofreading: BRIAN E. KIRBY, CHRIS PRAMAS, EVAN SASS Art Direction and Graphic Design: HAL MANGOLD Cover Art: MICHAEL KOMARCK Back Cover Art: PAOLO PUGGIONI Interior Art: TED GALADAY, JEFF HIMMELMAN, VERONICA JONES, JASON JUTA, BILLY KING, PAT LOBOYKO, BRITT MARTIN, GERMAN NOBILE, TORSTEIN NORDSTRAND, PAOLO PUGGIONI, CHRISTOPHE SWAL Cartography: JARED BLANDO, KEITH CURTIS & ANDY LAW Publisher: CHRIS PRAMAS GREEN RONIN STAFF: Bill Bodden, Joseph D. Carriker, Will Hindmarch, Steve Kenson, Jon Leitheusser, Nicole Lindroos, Hal Mangold, Chris Pramas, Rich Redman, Evan Sass, and Marc Schmalz PLAYTESTERS: Tyler M. Carey, Cody Carver, Tom Castelli, Jacob Chabot, Adam Doochin, Michael Elster, Andy Frades, Mark Hugo, Doug Justice, Brian E. Kirby, Jan Philipp Gürtler, Kristian Hartmann, Dan Heinrich, Lyle Hinckley, Kevin Hamilton, Daniel Hodges, Travis Hodges, Sean Johnson, Glen Kyle, Joe Quarles, Clemens Schäfer, Conrad Schäfer, Michael Simonds, Norman Simonds, Owen K.C. Stephens, Nathan Summar, Rich Tomasso, Bobby Turman A Song of Ice and Fire Roleplaying: A Game of Thrones Edition is © 2012 Green Ronin Publishing, LLC. All rights reserved. Reference to other copyrighted material in no way constitutes a challenge to the respective copyright holders of that material. A Song of Ice and Fire Roleplaying, SIFRP, and associated logos are trademarks of Green Ronin Publishing, LLC. A Song of Ice and Fire is © 1996-2012 George R. -
Official Preview Booklet the Redhurst Academy of Magic
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Dragon Magazine #248
DRAGONS Features The Missing Dragons Richard Lloyd A classic article returns with three new dragons for the AD&D® game. Departments 26 56 Wyrms of the North Ed Greenwood The evil woman Morna Auguth is now The Moor Building a Better Dragon Dragon. Paul Fraser Teaching an old dragon new tricks 74Arcane Lore is as easy as perusing this menu. Robert S. Mullin For priestly 34 dragons ... Dragon Dweomers III. Dragon’s Bestiary 80 Gregory W. Detwiler These Crystal Confusion creatures are the distant Dragon-Kin. Holly Ingraham Everythingand we mean everything 88 Dungeon Mastery youll ever need to know about gems. Rob Daviau If youre stumped for an adventure idea, find one In the News. 40 92Contest Winners Thomas S. Roberts The winners are revealed in Ecology of a Spell The Dragon of Vstaive Peak Design Contest. Ed Stark Columns Theres no exagerration when Vore Lekiniskiy THE WYRMS TURN .............. 4 is called a mountain of a dragon. D-MAIL ....................... 6 50 FORUM ........................ 10 SAGE ADVICE ................... 18 OUT OF CHARACTER ............. 24 Fiction BOOKWYRMs ................... 70 The Quest for Steel CONVENTION CALENDAR .......... 98 Ben Bova DRAGONMIRTH ............... 100 Orion must help a young king find both ROLEPLAYING REVIEWS .......... 104 a weapon and his own courage. KNIGHTS OF THE DINNER TABLE ... 114 TSR PREVIEWS ................. 116 62 PROFILES ..................... 120 Staff Publisher Wendy Noritake Executive Editor Pierce Watters Production Manager John Dunn Editor Dave Gross Art Director Larry Smith Associate Editor Chris Perkins Editorial Assistant Jesse Decker Advertising Sales Manager Bob Henning Advertising Traffic Manager Judy Smitha On the Cover Fred Fields blends fantasy with science fiction in this month's anniversary cover. -
Rewriting the Story: Videogames Within the Post-Gamergate Society
Jones 1 Abigail Jones English 4995 Joanna Hearne Rewriting the Story: Videogames within the Post-Gamergate Society “Begin like this: If photographs are images, and films are moving images, then video games are actions.” - Gaming: Essays on Algorithmic Culture, Alexander Galloway Staring through the scope in Call of Duty Modern Warfare (2007), as you navigate through the boggy swamps of some exotic jungle, there is never any doubt that you are in control. The operator’s thumbs roll over the toggles of the controller signaling to the consul how the character on screen must move. By enacting actions within the real world, players affect the actions of the avatar within the game world. To any well-versed videogame player, this is common knowledge; when one plays a videogame it is to be engaged within the world of the game and to ultimately achieve the programmed goal of the game. Up until the creation of the videogame, mediums of entertainment were largely spectator based. While reading a book you may turn the page, but you do not affect the ending of the book. When viewing a movie you may be actively watching, but you are not able to change the ending of the movie. But when playing a videogame the decisions made within the game determine whether the goal is reached, or if it is not: game over. In Alexander Galloway’s essay, “Gaming: Essays on Algorithmic Culture,” he defines videogames as a medium based upon action; “There has emerged in recent years a whole new medium, computers and in particular videogames, whose foundation is not in looking and reading but in the instigation of material change through action.” It is this Jones 2 action that appeals to players--the level of interactivity and agency. -
True20 Adventure Roleplaying Trademark License FAQ
True20 Adventure Roleplaying Trademark License FAQ Q: Do I have to submit my products for approval? A: No, you do not. We've tried to make the license easy to use. If you just follow the terms, you shouldn't have any problems. Q: Can I use this license for electronic products other than PDFs, like character generators? A: No, this license is only for the publication of printed books and PDF products. Any other sort of products must be licensed from Green Ronin on an individual basis. Q: Why can't I put True20 or True in the title? A: Green Ronin has established a naming pattern in its previous True20 books and we'd like that pattern to remain unique to official releases. Q: When can I start publishing using this license? A: Any time after May 12, 2008. Q: Can I use this license to do product in other languages? A: Yes, you can. The only additional limitation is that you must follow the terminology used in the appropriate True20 corebook if it exists in the language you're going to use. For example, Wyrd Edizione publishes True20 in Italy. If you want to do Italian language True20 material, you must follow the translation standards of Wyrd's version of the core rulebook. This is to ensure that terminology remains consistent in each language. Q: What should the Section 15 of the Open Game License in my product include? A: For starters it must include the entirety of the Section 15 from the Revised Edition of True20 Adventure Roleplaying.