Chapter One by Robert Denton III
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dragonewts: a Guide to the Eravssarr
Credits and Contents DRAGONEWTS A GUIDE TO THE ERAVSSARR Credits Contents Author Interior Illustrations Credits & Contents 1 Lawrence Whitaker Nathan Furman, Claudio Pozas, Phil Renne Introduction 2 Editor Nick Robinson Publications Manager Essence of Dragonewts 4 Ian Belcher Cover Art Myths 14 Tony Parker Playtesting Dragonewts in the World 23 Lucas MacKay Cover Design Dragonewt Characters 54 Bob Cram, Dan Howard & Jeff Special Thanks Koch Carl Pates, Jeff Richard, Jeff Kyer, Dragonewt Cults 71 Dan Barker, Shannon Appelcline, RuneQuest Logo Colin Driver, Roderick Robertson & Dragonewt Magic 84 Anne Stokes Greg Stafford Dinosaurs & Dream Dragons 100 Proofreading ‘The Six Dragons and the War Against Scribendi Chaos’ written by Greg Stafford and Dragonewt Voices 111 reproduced by kind permission. Index 116 Copyright Information Eravssarr: A Guide to Dragonewts ©2007 Mongoose Publishing. All rights reserved. Reproduction of of this work by any means without the written permission of the publisher is expressly forbidden. All significant characters, names, places, items, art and text herein are copyrighted by Mongoose Publishing subject to its licence from Issaries, Inc. This 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 Game License, please go to www.mongoosepublishing.com. This material is protected under the copyright laws of the United Kingdom. This product is a work of fiction. Any similarity to actual people, organisations, places or events is purely coincidental. RuneQuest is a trademark (TM) of Issaries, Inc. Produced under license from Issaries. All rights reserved. Printed in the UK. 1 INTRODUCTION understand their place in Time and they understand their destinies with absolute clarity. -
How the World Ought to Work
How the World Ought to Work By D.G. Laderoute “Seppun-san,” Akodo Toturi asked, “why, exactly, are we here?” A restrained patience tightened Seppun Ishikawa’s reply, like he was answering a child. “Once again, Akodo-san, we are going to meet someone.” Toturi narrowed his eyes. He’d been to the Higashikawa District perhaps one other time in his life, but was put off by its freewheeling, garish, commercial character. The racket of street vendors and merchants, hawking what struck him as mostly junk, clamored around them. At least the rabble was good at distracting itself, barely glancing at the two of them, apparently unremarkable rōnin in drab kimonos and broad, conical straw hats. Toturi kept his gaze on Ishikawa. He was tempted to simply command him to stop being so enigmatic, and actually answer the damned question; being the Emerald Champion, he could do that. But he didn’t, because it might upset their fragile…not friendship. Relationship, at best. In the past three weeks, that relationship had settled into an equilibrium, albeit one as delicate as dragonfly wings. The fact was, Toturi needed Ishikawa. The Seppun provided him a window into the politics and bureaucracy of the Imperial court, one he wouldn’t otherwise have, at least as long as he sought to anonymously track his would-be assassins. Three weeks had also given them no leads beyond ruling out a few, admittedly unlikely, perpetrators. Ishikawa slowed as a crowd spilled out of a shabby sake house called Bitter Oblivion. The resulting commotion gave Toturi a chance to lean close to the Seppun and speak. -
SIÊU BÃO ĐỊA CẦU Geostorm Géotempête
CHƯƠNG TRÌNH GIẢI TRÍ TRÊN CHUYẾN BAY INFLIGHT ENTERTAINMENT GUIDE GUIDE DE DIVERTISSEMENT À BORD 03-04 | 2018 SIÊU BÃO ĐỊA CẦU Geostorm Géotempête Up to 500 hours of entertainment Chào mừng Quý khách trên chuyến bay của Vietnam Airlines! Với hình ảnh bông sen vàng thân quen, LotuStar là thành quả của quá trình không ngừng nâng cao của Vietnam Airlines với mong muốn mang đến cho quý khách những phút giây giải trí thư giãn trên chuyến bay. Chữ “Star” – “Ngôi sao” được Vietnam Airlines lựa chọn đưa vào tên gọi của cuốn chương trình giải trí như một ẩn dụ cho hình ảnh các ngôi sao điện ảnh, ngôi sao ca nhạc sẽ xuất hiện trong các chương trình giải trí. “Ngôi sao”, hơn thế nữa, còn đại diện cho mục tiêu mà Vietnam Airlines đang hướng tới: chất lượng phục vụ quí khách ngày càng hoàn hảo hơn. Mỗi trang thông tin trong cuốn cẩm nang hứa hẹn mang đến cho Quý khách một thế giới nghe-nhìn sôi động với các bộ phim điện ảnh kinh điển, những bộ phim bom tấn, các tác phẩm âm nhạc bất hủ, đang được yêu thích, các chương trình sách nói và chương trình trò chơi lôi cuốn, hấp dẫn. Tất cả các nội dung trên đều được sắp xếp, trình bày theo từng chuyên mục để thuận tiện cho lựa chọn của Quý khách. Và bây giờ, xin mời Quý khách cùng du hành vào thế giới giải trí trên chuyến bay của Vietnam Airlines…. Welcome aboard! LotuStar, your inflight entertainment guide, will give you details of an exciting and diversified entertainment programme, representing Vietnam Airlines’ endeavour to make your flight a relaxing experience. -
Siren Motifs on Glazed Dishes
Art This is how the harpies and sirens were seen in Europe in the Middle Ages 34 www.irs-az.com 2(30), SPRING 2017 Aida ISMAYILOVA Siren motifs on glazed dishes (Based on materials of the National Azerbaijan History Museum) www.irs-az.com 35 Art This is how the harpies and sirens were seen in ancient Greece. Image on a ceramic vase he National Azerbaijan History Museum (NAHM) is mation about the semantics of the image with a human rich in archaeological materials belonging to vari- head and a bird’s body. Tous periods of our history, including the 12th-13th First of all, let’s get acquainted with the description centuries. Based on this material evidence, we can study of the material cultural artifacts we mentioned above: the artistic and aesthetic image and world outlook of A fragment of a dish was found in the urban area of the period, as well as its principle of cultural succession. Beylagan in 1963 (1, No 25058). The clay of the glazed From this point of view, we will be talking about archaeo- fragment was bright orange and well fired. The inter- logical materials, which belong to the aforesaid period, nal surface is covered with engobing and is glazed with found in the urban areas of Beylagan and Bandovan and images of birds and plants engraved on it. The outlines handed over to the NAHM from the Nizami museum. of the image are bright brown. The profile of a bird is The particularity of these material cultural artifacts is that depicted from the right side. -
Having Bought Into a Wreck -- What Now? Cognitive Challenges of Embodying Reality Otherwise - /
Alternative view of segmented documents via Kairos 7 May 2018 | Draft Having Bought into a Wreck -- What Now? Cognitive challenges of embodying reality otherwise - / - Introduction Environmental preamble Intuited complementarity: environmental cycles and learning cycles? Revisioning a tabular configuration of categories Cognitive implication in contrasting modalities Symbolism, mythology and correspondences Rosetta stone of meaningful cycles? Ultimate self-reflexive irony of cyclic cognitive processes Preceding approaches to thematic organization Productivity: Substantive ("Solid") Liquidity: Both substantive and non-substantive ("Fluid") Imagination: Non-substantive ("Air") Excitement: Neither substantive nor non-substantive ("Fire") References Introduction Whether in collusion with others or not, I seem to have bought shares in a total wreck of some kind. It could be a house or some means of transportation -- possibly a truck, or a boat, or a train, or a plane. Some call it global civilization. Like the Cubans after their revolution, I am faced with the challenge of a rapidly decaying "automobile" for which I cannot get spare parts. This is despite the reported rate of development of technology elsewhere (beyond my reach and comprehension), and the promises with which it is associated. How am I then to engage with the wreck, which could indeed collapse further at any moment? There is some irony that, as an "auto-mobile", getting it to work is curiously reminiscent of what is otherwise framed as the challenge of "sustainability". One approach for me is simply to note the facts of this situation -- to bear witness. To whom? Various parts do not work as they might be expected to work -- whether frozen, ill-fitting, or poorly connected. -
The Influence of Politics and Culture on English Language Education in Japan
The Influence of Politics and Culture on English Language Education in Japan During World War II and the Occupation by Mayumi Ohara Doctor of Philosophy 2016 Certificate of Original Authorship I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Production Note: Signature removed prior to publication. Mayumi Ohara 18 June, 2015 i Acknowledgement I owe my longest-standing debt of gratitude to my husband, Koichi Ohara, for his patience and support, and to my families both in Japan and the United States for their constant support and encouragement. Dr. John Buchanan, my principal supervisor, was indeed helpful with valuable suggestions and feedback, along with Dr. Nina Burridge, my alternate supervisor. I am thankful. Appreciation also goes to Charles Wells for his truly generous aid with my English. He tried to find time for me despite his busy schedule with his own work. I am thankful to his wife, Aya, too, for her kind understanding. Grateful acknowledgement is also made to the following people: all research participants, the gatekeepers, and my friends who cooperated with me in searching for potential research participants. I would like to dedicate this thesis to the memory of a research participant and my friend, Chizuko. -
LL-L5R Rules.Pdf
A few months ago, the Empress of Rokugan’s third child, Iweko Miaka, came of age. This instantly made her the most eligible maiden in the Empire, and prominent samurai from every clan and faction have set out to court her. Of course, in Rokugan marriage is a matter of duty and politics far more often than love, but the personal affection of a potential spouse can be a very effective tool in marriage negotiations. And when that potential spouse is an Imperial princess, her affection can be more influential than any number of political favors. 2 Of course, winning a princess’ heart is hardly an easy task in the tightly- monitored world of the Imperial Palace. The preferred tool of courtly romance in Rokugan is the letter, and every palace’s corridors are filled with the soft steps of servants carrying letters back and forth. But such letters can be intercepted by rivals or turned away by hostile guards. For a samurai to succeed in his suit, he will have to find ways of getting his own letters into Miaka’s hands – while blocking the similar efforts of rival suitors. 3 Object In the wake of many recent tragic events, Empress Iweko I has sought to bring a note of joy back to the Imperial City, Toshi Ranbo, by announcing the gempukku (coming- of-age) of her youngest child and only daughter, Iweko Miaka. Prominent samurai throughout the Imperial City have immediately started to court the Imperial princess, whose hand in marriage would be a prize beyond price in Rokugan. -
The Animals Saved from the Flood by Noah. Detail from a Painting by Roeland Savery
THE STORY OF MAN'S DISCOVERY OF THE ANIMAL KINGDOM Translated from the German by MICHAEL BULLOCK Illustrated with photographs and line drawings The animals saved from the Flood by Noah. Detail from a painting by Roeland Savery. HOUGHTON MIFFLIN COMPANY BOSTON 1 959 34 A CABINET OF MONSTERS MONOCEROS AND RHINOCEROS 35 in a thoroughly practical way. He had an elephant station set up earlier versions by the Latin word unicornis or the Greek monoceros near Api in the Congo-the first of its kind on African soil since --both meaning one-horn. It is clear, at any rate, that there once the days of Ptolemy Philadelphus. The experiment succeeded, al existed in the East a powerful beast which n1en caught, tied to the though Kornaks brought from India could not cope with the crib, put in harness and set to work in the fields. The taming of forest elephants of the Congo. Native Zanga negroes, on the this beast seemed to the men of those days a great and wonderful other hand, managed very well. After the closing of Api a new event, an epoch-making feat that could not have been accom station was established at Gangala-na-Bodio on the upper Wele. plished without the grace of God. Here the tame elephants of the colonial government still perform This unicorn was already a legendary creature in the ancient valuable services as draught animals and beasts of burden in all world. In the Middle Ages it developed into a mythical super sorts of forestry work, in spite of the introduction of lorries and beast, the nature of which Leonardo da Vinci outlined in the tractors. -
Available for Download at Dungeonsanddragons.Com
BASIC RULES D&D Basic Rules, Version 1.0, Released November 2018 Credits Lead Designers: Jeremy Crawford, Mike Mearls, Based on the original D&D game created by Christopher Perkins E. Gary Gygax and Dave Arneson, Design Team: James Wyatt, Rodney Thompson, Robert J. with Brian Blume, Rob Kuntz, James Ward, and Don Kaye Schwalb, Peter Lee, Steve Townshend, Bruce R. Cordell Drawing from further development by J. Eric Holmes, Tom Moldvay, Frank Mentzer, Aaron Allston, Managing Editor: Jeremy Crawford Harold Johnson, David “Zeb” Cook, Ed Greenwood, Keith Editing Team: Chris Sims, Michele Carter, Scott Fitzgerald Gray, Baker, Tracy Hickman, Margaret Weis, Douglas Niles, Jeff Kim Mohan Grubb, Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, Peter Adkison, Bill Slavicsek, Andy Collins, and Rob Graphic Designers: Bree Heiss, Emi Tanji Heinsoo Interior Illustrator: Jaime Jones, Richard Whitters Playtesting provided by Additional Contributors: Matt Sernett, Chris Dupuis, Tom over 175,000 fans of D&D. Thank you! LaPille, Chris Tulach, Miranda Horner, Jennifer Clarke Wilkes, Steve Winter, Chris Youngs, Ben Petrisor, Tom Olsen Producer: Greg Bilsland Project Management: Neil Shinkle, Kim Graham, John Hay Brand and Marketing: Nathan Stewart, Liz Schuh, Chris Lindsay, Shelly Mazzanoble, Hilary Ross, Laura Tommervik, Kim Lundstrom, Trevor Kidd DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, the dragon ampersand, Player’s Handbook, Monster Manual, Dungeon Master’s Guide, all other Wizards of the Coast product names, and their respective logos are trademarks of Wizards of the Coast in the USA and other countries. All characters and their distinctive likenesses are property of Wizards of the Coast. -
Copyrighted Material Not for Distribution
Contents Acknowledgments ix Introduction: Fear Has No Face: Creepypasta as Digital Legendry Trevor J. Blank and Lynne S. McNeill 3 1 “The Sort of Story That Has You Covering Your Mirrors”: The Case of Slender Man Jeffrey A. Tolbert 25 2 The Cowl of Cthulhu: Ostensive Practice in the Digital Age Andrew Peck 51 3 “What Happens When the Pictures Are No Longer Photoshops?” Slender Man, Belief, and the Unacknowledged Common Experience Andrea Kitta 77 4 “Dark and Wicked Things”: Slender Man, the Folkloresque, and the Implications of Belief Jeffrey A. Tolbert 91 5 The Emperor’s New Lore; or, Who Believes in the Big Bad Slender Man? Mikel J. Koven 113 6 Slender COPYRIGHTEDMan, H. P. Lovecraft, and the MATERIALDynamics of Horror Cultures NOTTimothy FOR H. EvansDISTRIBUTION 128 7 Slender Man Is Coming to Get Your Little Brother or Sister: Teenagers’ Pranks Posted on YouTube Elizabeth Tucker 141 8 Monstrous Media and Media Monsters: From Cottingley to Waukesha Paul Manning 155 Notes on the Authors 183 Index 185 COPYRIGHTED MATERIAL NOT FOR DISTRIBUTION Figure 0.1. Original caption: “One of two recovered photographs from the Stirling City Library blaze. Notable for being taken the day which fourteen chil- dren vanished and for what is referred to as ‘The Slender Man’. Deformities cited as film defects by officials. Fire at library occurred one week later. Actual photograph confiscated as evidence.—1986, photographer: Mary Thomas, missing since June 13th, 1986.” (http://knowyourmeme.com/memes /slender-man.) Introduction Fear Has No Face Creepypasta as Digital Legendry Trevor J. Blank and Lynne S. -
Silva Iaponicarum Fasc. 43/44/45/46
SILVA IAPONICARUM 日林 FASC. XLIII/XLIV/XLV/XLVI 第四十三・四十四・四十五・四十六 号 SPRING/SUMMER/AUTUMN/WINTER 春・夏・秋・冬 2015 SPECIAL EDITION POLISH FILM STUDIES AND JAPANESE CINEMA edited by Krzysztof Loska and Dawid Głownia Posnaniae, Cracoviae, Varsoviae, Kuki MMXV ISSN 1734-4328 2 Drodzy Czytelnicy. Niniejszy specjalny zeszyt Silva Iaponicarum 日林 zawiera artykuły zebrane od polskich filmoznawców specjalizuj ących si ę w kinie japo ńskim. Cieszymy si ę, że mo żemy przedstawi ć w ten sposób najnowsze prace zarówno uznanych polskich badaczy japo ńskiego kina, jak i filmoznawców pokolenia młodszego, znajduj ących si ę u progu ich kariery akademickiej. Nawet wydanie filmowe specjalne naszego kwartalnika pozostaje wielow ątkowe. St ąd jako jedynego klucza porz ądkowania artykułów w trakcie jego kompilacji zastosowano porz ądek alfabetyczny elementów składowych, według nazwisk autorów artykułów. Serdecznie dzi ękujemy autorom wszystkich prac zamieszczonych w tym wydaniu Silva Iaponicarum za gotowo ść do ich publikacji w jednym specjalnym zeszycie naszego kwartalnika oraz za efektywn ą współprac ę w procesie opracowania tekstów. Redaktorzy Kolegium redakcyjne Kraków – Pozna ń –Toru ń – Warszawa – Kuki grudzie ń 2015 3 Dear Readers, This special issue of Silva Iaponicarum 日 林 contains articles received from Polish researchers focusing on Japanese film and cinema studies. We are delighted and honoured to present the most recent works of both the established representatives of Polish academics of the Japanese film studies together with conctributions from younger generation of scholars, who are at the begining of their academic careers. The special film fascicle is very diverse in terms of topics. This is why in the process of the compilation we decided to introduce the alphabetical order of papers (by the authors’ names) in the fascicle. -
Bigfoot Sighting in Kentucky? Couple Recounts Bizarre Tale at Mammoth Cave
Bigfoot sighting in Kentucky? Couple recounts bizarre tale at Mammoth Cave Ben Tobin, Louisville Courier Journal Published 9:05 a.m. ET July 31, 2019 | Updated 7:11 p.m. ET July 31, 2019 Bigfoot is back. But did he ever really go away? Brad Ginn and Madelyn Durand, a couple of Western Kentucky University students, said they were awakened in the middle of the night last weekend during a camping trip to Mammoth Cave by a gun-toting man hellbent on tracking down the legendary creature. "It was scary to know there was a man out there shooting a gun at nothing," Durand told the Courier Journal on Wednesday of the couple's weekend adventure in the woods. Bigfoot sightings have been reported hundreds of times across Kentucky since the time of Daniel Boone. What makes Durand and Ginn's story so unforgettable, though, is the randomness of their tale. Neither says they actually saw Bigfoot — and they weren't looking, either. The couple had been sleeping in a tent early Sunday morning when Durand, 22, woke up Ginn, 24, to tell him that a man and his young son were approaching. When they got to the tent, the man said that his own campsite and tent had been destroyed and that they were in "Bigfoot country." Then he showed them a gun in his back pocket and told them to "run if we hear shots," Ginn said. The man and his son then left. "A few minutes later we see their lights approaching again," Ginn said, "and as they get closer we hear the man yell something like 'oh my God! Do you see that? There it is!'" Top headlines: Louisville's legendary mecca for antiques and oddities is for sale (/story/money/companies/2019/07/31/legendary-louisville-antique- store-up-sale-after-50-years/1881957001/) Looking out from their tent, Durand and Ginn watched as the man "shot his gun into the darkness." Durand and Ginn said they then ran from their tent to the man to see what was happening.