11101.0 Money 1102.0 Goods, Services and Equipment 53
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The European Bronze Age Sword……………………………………………….21
48-JLS-0069 The Virtual Armory Interactive Qualifying Project Proposal Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for graduation by _____________________________ ____________________________ Patrick Feeney Jennifer Baulier _____________________________ Ian Fite February 18th 2013 Professor Jeffrey L. Forgeng. Major Advisor Keywords: Higgins Armory, Arms and Armor, QR Code 1 Abstract This project explored the potential of QR technology to provide interactive experiences at museums. The team developed content for selected objects at the Higgins Armory Museum. QR codes installed next to these artifacts allow visitors to access a variety of minigames and fact pages using their mobile devices. Facts for the object are selected randomly from a pool, making the experience different each time the code is scanned, and the pool adapts based on artifacts visited, personalizing the experience. 2 Contents Contents........................................................................................................................... 3 Figures..............................................................................................................................6 Introduction ……………………………………………......................................................... 9 Double Edged Swords In Europe………………………………………………………...21 The European Bronze Age Sword……………………………………………….21 Ancient edged weapons prior to the Bronze Age………………………..21 Uses of European Bronze Age swords, general trends, and common innovations -
Weapon Group Feats for Pathfinder: Class: Weapon Group Proficiencies
Weapon Group Feats for Pathfinder: Class: Weapon Group Proficiencies at 1st Level: Alchemist Basic weapons, Natural, Crossbows, any other 1 Barbarian Basic weapons, Natural, any other 4 Bard Basic weapons, Natural, any other 3 Cavalier Basic weapons, Natural, Spears, any other 3 Cleric Basic weapons, Natural, deity’s weapon group, any other 2(3 groups if not following a deity) Druid Basic weapons, Natural, druid weapons, any other 1 Fighter Basic weapons, Natural, any other 5 Gunslinger Basic weapons, Natural, firearms, any other 3 Monk Basic weapons, and all monk weapons Inquisitor Basic weapons, Natural, deity’s weapon group, Bows or Crossbows, any other 3 (4 groups if not following a deity) Magus Basic weapons, Natural, any other 4 Oracle Basic weapons, Natural, any other 1 (+3 if taking Skill at Arms) Paladin/AntiPaladin Basic weapons, Natural, any other 4 Ranger Basic weapons, Natural, any other 4 Rogue Basic weapons, Natural, any other 3 Sorcerer Basic weapons, Natural, spears, crossbows , any other 1 Summoner Basic weapons, Natural, spears, crossbows , any other 1 Witch Basic weapons, Natural, spears, crossbows , any other 1 Wizard Basic weapons, Natural, spears, crossbows This system doesn’t change Racial Weapon Familiarity. Weapon Group Name: Weapons In Group: Axes bardiche, battleaxe, dwarven waraxe, greataxe, handaxe, heavy pick, hooked axe, knuckle axe, light pick, mattock, orc double axe, pata, and throwing axe Basic club, dagger, quarterstaff, and sling Blades, Heavy bastard sword, chakram, double chicken saber, double -
Illusionists: Illusionists Are a Special Class of Magic Light
WARLOCK Rules for the Universe of 1999-2000 Credits Original Rules Robert Cowan; Basic Combat System Dave Clark; Basic Magic System Kenneth M. Dahl; Basic Clerical System Mike Lowry and Pat Shea; Thievish Rules Nick Smith; Other Systems and Rules Previous Version Bart Hibbs Current Version Mike Riley; Editor who actually do things in the world of your referee, but the Introduction players control them. We suggest you have only a small Several years ago, the first copies of a new game called number of player characters per player. In our games we Dungeons and Dragons appeared on the market. Fantasy allow any player to involve any 2 of his characters in any fans and gamers in general were enthralled at the one adventure or expedition. Whether these player possibilities. Most of them became hooked on the game, due characters are Fighters or Elves, Clerics or Dwarves, to its unusual and imaginative nature. You could actually do remember that in their own world, they are people, and treat unusual things: slay dragons, rescue the downtrodden, and them accordingly. just grab loot. Characteristics: There are eight things that are When our group first started playing the game, our determined for each character at his or her creation: overall reaction was that it had great ideas, "but“but maybe Strength, Intelligence, Wisdom, Constitution, Dexterity, we should change the combat system, clarify the Magic, and Agility, Charisma, and Size. These are called redo the monsters".monsters”. Warlock is not intended to ‘characteristics’. See the rules on ‘Creating Player replace D&D, and, indeed would not exist without that Characters’ for more. -
Interpretation of Fiore Dei Liberi's Spear Plays
Acta Periodica Duellatorum, Hands On section, articles 131 Interpretation of Fiore dei Liberi’s Spear Plays Jakub Dobi Ars Ensis [email protected] Abstract – How did Fiore Furlano use a spear? What is the context, purpose, and effect of entering a duel armed with a spear? My article- originally a successful thesis work for an Ars Ensis Free Scholler title- describes in detail what I found out by studying primary sources (Fiore’s works), related sources (contemporary and similar works), and hands-on experience in controlled play practice, as well as against uncooperative opponents. In this work I cover the basics- how to hold the spear, how to assume Fiore’s stances, how to attack, and how to defend yourself. I also argue that the spear is not, in fact, a preferable weapon to fence with in Fiore’s system, at least not if one uses it in itself. It is however, a reach advantage that has to be matched, and thus the terribly (mutually) unsafe situation of spear versus spear occurs. As a conclusion, considering context and illustrations of spear fencing, I argue that the spear is only to be considered paired with other weapons, like dagger, or sword. In fact, following Fiore’s logic, we can assume he used the spear to close the distance to use a weapon he feels more in control with. Keywords – Fiore, Furlano, Liberi, Italian, duel, spear, Ars Ensis I. PROCESS OF RESEARCH The article itself is largely devoted to trying to point out the less obvious points to make about this specific style of spear fencing. -
Honor and Violence: Perspectives on the Akō Incident
Honor and Violence: Perspectives on the Akō Incident Megan McClory April 4, 2018 A senior thesis, submitted to the East Asian Studies Department of Brandeis University, in partial fulfillment of the Bachelor of Arts degree. Table of Contents Introduction………………………………………………………………………………………1 Law and Morality………………………………………………………………………………...4 Kenka Ryouseibai…………………………………………………………………………5 House Codes……………………………………………………………………………....8 Loyalty as Propaganda…………………………………...………………………………..9 Filial Piety………………………………………………………………………………13 Evolution into Legend……………………………………………………………………………15 Dissemination……………………………………………………………………………15 Audience…………………………………………………………………………………18 Akō as an Example………………………………………………………………………19 Modern Day……………………………………………………………………………...20 Sengaku-ji………………………………………………………………………………. 22 Chūshingura as a Genre………………………………………………………………… 25 Ukiyo-e………………………………………………………………………………...…25 Appeal and Extension to Non-Samurai………………………………..…………………………28 Gihei the Merchant………………………………………………………………………28 Injustice…..………………………………………………………………………………35 Amae …………………………………………………………………………………….38 Collective Honor…………………………………………………………………………41 Women in Chūshingura………………………………………………………………….44 Conclusion……………………………………………………………………………….47 List of Names and Characters Adapted from David Bell Chushingura and the Floating World: The Representation of Kanadehon Chushingura in Ukiyo-e Prints Enya Hangan A young provincial noble and Lord of the castle of Hoki under the shogun Ashikaga Takauji. Asano Takuminokami Naganori, Lord of Akō in the province of Harima. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
Oriental Adventures James Wyatt
620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K. -
ADVANCED DUNGEONS & DRAGONS® the Complete Ninja's
ADVANCED DUNGEONS & DRAGONS® 2nd Edition Player's Handbook Rules Supplement The Complete Ninja's Handbook By Aaron Allston CREDITS Design: Aaron Allston Editing: Barbara G. Young Black and White Art: Jim Holloway Color Art: Clyde Caldwell, Fred Fields, Les Dorscheid Typography: Tracey Isler Production: Paul Hanchette Acknowledgements: Many elements of The Complete Ninja's Handbook were derived from parts of Oriental Adventures designed by David "Zeb" Cook. In particular, portions of the optional Advanced Martial Arts rules are drawn from Oriental Adventures. TSR, Inc. TSR Ltd. 201 Sheridan Springs Rd. 120 Church End, Lake Geneva Cherry Hinton WI 53147 Cambridge CB1 3LB USA United Kingdom ADVANCED DUNGEONS & DRAGONS, AD&D, DRAGON, and DUNGEON MASTER are registered trademarks owned by TSR, Inc. The TSR logo is a trademark owned by TSR, Inc. This book is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission of TSR, Inc. Random House and its affiliate companies have worldwide distribution rights in the book trade for English language products of TSR, Inc. Distributed to the book and hobby trade in the United Kingdom by TSR Ltd. Distributed to the toy and hobby trade by regional distributors. ©1995 TSR, Inc. All rights reserved. Printed in the U.S.A. Table of Contents Introduction Chapter 1: The Ninja Class Ninja and Rogue Ninja Experience Levels Ninja Class Requirements Alignment Weapons and Armor -
Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L
SWORD OF THE SAMURAI Computer Game MICROPROSE SOFTWARE INC. 180 Lakefront Drive, Hunt Valley, MD 2 1030 (410) 771-I 151 All rights reserved Copyright 0 I989 by MicroProse Software, inc. This bk may not be reproduced in whole or in part by any means without permission, except the quotation of brief passages for reviews. PRINTING HISTORY First printing 1989 Printing: 9 8 7 6 5 4 3 2 1 Sword of the Samurai is MicroProse Software’s trademark for its computer game of feudal Japan. SWORD OF THE SAMURAI Game Design/Project Leader Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L. BRIGGS JIM SYNOSKI Print Media Director Role-Playing Program IRIS IDOKOCI JIM SYNOSKI Full-Page Illustrations with SID MEIER RONNIE ORDANZA and MARCELL CIOLA Melee Program Spot Illustrations JOHN KENNEDY OSCAR RATTI* Battle Program Layout DAVID McKlBBlN MICHAEL HAIRE and MURRAY TAYLOR with DAN CHANG Paper Map Graphics Duel Program MARCELL CIOLA SID MEIER MURRAY TAYLOR and MICHAEL REIS Music and Sound Quality Assurance KEN LAGACE and JIM McCONKEY ALAN ROIREAU, CHRIS TAORMINO, Music by JEFFERY L. BRIGGS and RUSS COONEY Computer Graphics Packaging Design MICHAEL HAIRE MARK CIOLA and JOHN EMORY with JACKIE ROSS Type Fonts by BARBARA BENTS *(from Secrets of the Samurai by Oscar Ratti and Adele Westbrook; used by permission of the publisher, the Charles E. Tuttle Company, Inc.) CONTENTS INTRODUCTION THE LIFE OF A SAMURAI General Overview: Another Time, Another Culture 3 Quickstart: On the -
History of the M Anrikigusari and Masaki-Ryu
SPIKE and CHAIN Japanese Fighting Arts by Charles V. Gruzanski CHARLES E. TUTTLE CO.: PUBLISHERS Rutland, Vermont & Tokyo, Japan Represen I a I i ves Continental Europe: BoxERBOOKS, INc., Zurich British Isles: PRENTICE-HALL iNTERNATIONAL, INC., London Australasia: PAUL FLESCH & Co., PTY. LTD., Melbourne Canada: m.g. hurtig ltd., Edmonton This book is dedicated to YUMIO NAWA, Master of Masaki-Ryu, Shuriken-Jutsu, Toda-Ryu, Kusarigama-Jutsu, Jutte-Jutsu, and Edomachikata Torinawa-Jutsu. Without his instruction and generosity this work could not have been possible. Published by the Charles E. Tuttle Company, Inc. of Rutland, Vermont & Tokyo, Japan with editorial offices at Suido 1-chome, 2-6, Bunkyo-ku, Tokyo Copyright in Japan, 1968 by Charles E. Tuttle Co., Inc. All rights reserved Library of Congress Catalog Card No. 68-/50/9 First printing, 1968 Neither the author nor the publisher accepts or assumes any responsibility or liability for any personal injuries sustained by anyone as a result of the use or practice of any of the instructions contained in this volume. PRINTED IN JAPAN Table of Contents LIST OF ILLUSTRATIONS . .. II ACKNOWLEDGMENTS ..................................... .... 17 PREFACE ......................................................... 19 INTRODUCTION ......................................... ....... .. 21 THE SAMURAI C REED .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 23 PART I MASAKI-RYU History of the Manrikigusari and Masaki-ryu 27 The Beginning Development of the Art Other Schools of the Manrikigusari Special Characteristics of the Manrikigusari ......... 31 General Features Advantages to Using the Manrikigusari Practice Unique Features Techniques for Using the Manrikigusari ............ 35 Proper Grip Manipulation Kamae (Preparatory Positions) Goho-no-kamae 36 • Jssei-no-kamae 39 • Tenchi-no-kamae 40 • Shumoku-no- kamae 41 • Jppu-no-kamae 42 7 The Transition . -
Ghenko, the Mongol Invasion of Japan
1 GHENKO THE MONGOL INVASION OF JAPAN HOJO TOKIMUNE. GHENKO THE MONGOL INVASION OF JAPAN BY NAKABA YAMADA, B.A. (Cantab.) WITH AN INTRODUCTION BY LORD ARMSTRONG WITH ILLUSTRATIONS AND MAPS LONDON SMITH, ELDER & CO., 15 WATERLOO PLACE 1916 [All rights reserved] *L\ 3 Y PREFACE evening in the summer before last, I ONEwas sitting in the reading-room of my College in Cambridge, when a small " " book entitled Westward Ho ! caught my eye. I was greatly attracted by its contents. In the mellowing light of the sun, I perused the book page after page, until my attention was diverted by the dining-bell from the hall. Ending my perusal, however, I stood a while with the pleasant memory of what I had read. One of my friends told me at table that that book was one of the great works of Charles Kingsley, and well worth reading. Having ob- tained a new copy, I finished the reading before long. It was from this reading that I acquired the idea of writing this book. My first intention was " to describe the historical event of the Mongol " " Invasion of Japan in such a novel as Westward " Ho ! But I have found it better to write an authentic, straightforward history rather than to use the medium of fiction. For the facts, which v 348467 PREFACE would be used as the basis of an historical novel, are not known to our Western friends as a whole, as the Chino-Japanese war or the Russo- war has been this is Japanese ; probably owing both to the remoteness of the events and the difficulties of research work, in a field so far removed in time and place. -
Xvi Cent. Italian Partisan and Spetum
XVI CENT. ITALIAN PARTISAN AND SPETUM SOURCES ACHILLE MAROZZO, Opera Nova, book IV, 1536 ANTONIO MANCIOLINO, Opera Nova, book VI, 1531 FRANCESCO ALTONI, Monomachia, book II, XVI cent RELATORS Andrea Morini & Devis Carli – SALA D'ARME ACHILLE MAROZZO Polearms are metal weapons put on a very long wooden shaft (which can be reinforced by metal strips) in order to increase their offensive and defensive distance. Their shapes heavily depend on the type of polearm, place and date of fabrication. Dimensions vary depending on the type of weapon. Since the shafts were made of wood, which is a very perishable material, we don’t have many original weapons. Most of them are blades put on a new shaft, or blades alone. The peculiarity of these weapons is their length, which influences offensive, defensive potential and wielding. Agriculture tools were used in war even without modification, but were only slightly improved to reach their full performance as weapons. In the treatises is fairly common the use of: poleaxe, halberd, bill, spetum, partesan, big partesan, spear and pike. ANDREA MORINI & DEVIS CARLI XVI CENT. ITALIAN PARTISAN AND SPETUM PARTISAN Pietro Monte (Book I, Chap. 1) tells us the partisan is a roughly two meters long weapon, that is to say the distance from ground level to the raised hand of a man. The partisan had a simple triangular blade, put on a square or octagonal (says Francesco Altoni) shaft. Both its edges were sharp. Two prongs (curved little wings) were later added in the blade’s base. The first kind of partisans (without prongs) disappeared during the XVII century, while a lot of the second kind (with prongs), with maybe a better finish and slightly more decorative, managed to survive.