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SILVER AGE SENTINELS (D20)
Talking Up Our Products With the weekly influx of new roleplaying titles, it’s almost impossible to keep track of every product in every RPG line in the adventure games industry. To help you organize our titles and to aid customers in finding information about their favorite products, we’ve designed a set of point-of-purchase dividers. These hard-plastic cards are much like the category dividers often used in music stores, but they’re specially designed as a marketing tool for hobby stores. Each card features the name of one of our RPG lines printed prominently at the top, and goes on to give basic information on the mechanics and setting of the game, special features that distinguish it from other RPGs, and the most popular and useful supplements available. The dividers promote the sale of backlist items as well as new products, since they help customers identify the titles they need most and remind buyers to keep them in stock. Our dividers can be placed in many ways. These are just a few of the ideas we’ve come up with: •A divider can be placed inside the front cover or behind the newest release in a line if the book is displayed full-face on a tilted backboard or book prop. Since the cards 1 are 11 /2 inches tall, the line’s title will be visible within or in back of the book. When a customer picks the RPG up to page through it, the informational text is uncovered. The card also works as a restocking reminder when the book sells. -
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. -
Another Source for Blake's Orc
MINUTE PARTICULAR Another Source for Blake’s trc Randel Helms Blake/An Illustrated Quarterly, Volume 15, Issue 4, Spring 1982, pp. 198-199 198 By omitting all reference to Blake's life and writings, Ballard has written a tour de force that in some ways gets closer to the heart of Blake's MINUTE vision than the more explicitly Blakean novels. [My thanks to Roberto Cuooi and Barbara Heppner for PARTICULARS drawing my attention to the last too novels.] BLAKE AND THE NOVELISTS ANOTHER SOURCE FOR BLAKE'S ORC Christopher Heppner Randel Helms recurring fascination in the reading of illiam Blake derived the name and character- Blake is to wonder how some of his statements istics of his figure Ore from a variety of A and exhortations would feel if lived out in Wsources, combining them to produce the a real life—one's own, for example. Many of the various aspects of the character in such poems as novelists who have used Blake have explored this America, The Four Zoas and The Song of Los. The question, from a variety of perspectives. Joyce hellish aspects of Ore probably come from the Latin Cary in The Horse's Mouth gave us one version of the Orcus, the abode of the dead in Roman mythology and artist as hero, living out his own interpretation of an alternate name for Dis, the god of the underworld. Blake. Colin Wilson's The Glass Cage made its hero In Tiriel, Ijim describes Uriel's house, after his a Blake critic, but an oddly reclusive one, who sons have expelled him, as "dark as vacant Orcus."1 appears a little ambivalent in his lived responses The libidinous aspect of Ore may well come, as David to the poet, and is now writing about Whitehead. -
Postgraduate English: Issue 15
Farrell Postgraduate English: Issue 15 Postgraduate English www.dur.ac.uk/postgraduate.english ISSN 1756-9761 Issue 15 March 2007 Editors: Ollie Taylor and Kostas Boyiopoulos Revolution & Revelation: William Blake and the Moral Law Michael Farrell* * University of Oxford ISSN 1756-9761 1 Farrell Postgraduate English: Issue 15 Revolution & Revelation: William Blake and the Moral Law Michael Farrell University of Oxford Postgraduate English, Issue 15, March 2007 The Marriage of Heaven and Hell, despite its parodic form and function, is Blake’s personal and politico-theological manifesto outlining his fervent opposition to institutionalised religion and the oppressive moral laws it prescribes. It ultimately concerns the opposition between the Spirit of Prophecy and religious Law. For Blake, true Christianity resides in the cultivation of human energies and in the fulfilment of human potential and desire – the cultivation for which the prophets of the past are archetypal representatives – yet the energies of which the Mosaic Decalogue inhibits. Blake believes that all religion has its provenance in the Poetic Genius which “is necessary from the confined nature of bodily sensation” (Erdman 1) to the fulfilment of human potential. Blake’s “Proverbs of Hell” demonstrate how the energies underlying the true religious and potentially revolutionary consciousness are to be cultivated. He is especially concerned with repressed sexual energies of bodily sensation, stating in The Marriage that “the whole creation will be consumed and appear infinite and holy … This will come to pass by an improvement of sexual enjoyment” (39). He subsequently exposes the relativity of moral codes and hence “the vanity of angels” who “speak of themselves as the only wise” (42) – that is, the fallacy of institutionalised Christianity and its repressive moral law or “sacred codes” which are established upon “systematic reasoning”. -
Blake's Critique of Enlightenment Reason in the Four Zoas
Colby Quarterly Volume 19 Issue 4 December Article 3 December 1983 Blake's Critique of Enlightenment Reason in The Four Zoas Michael Ackland Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 19, no.4, December 1983, p.173-189 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Ackland: Blake's Critique of Enlightenment Reason in The Four Zoas Blake's Critique of Enlightenment Reason in The Four Zoas by MICHAEL ACKLAND RIZEN is at once one of Blake's most easily recognizable characters U and one of his most elusive. Pictured often as a grey, stern, hover ing eminence, his wide-outspread arms suggest oppression, stultifica tion, and limitation. He is the cruel, jealous patriarch of this world, the Nobodaddy-boogey man-god evoked to quieten the child, to still the rabble, to repress the questing intellect. At other times in Blake's evolv ing mythology he is an inferior demiurge, responsible for this botched and fallen creation. In political terms, he can project the repressive, warmongering spirit of Pitt's England, or the collective forces of social tyranny. More fundamentally, he is a personal attribute: nobody's daddy because everyone creates him. As one possible derivation of his name suggests, he is "your horizon," or those impulses in each of us which, through their falsely assumed authority, limit all man's other capabilities. Yet Urizen can, at times, earn our grudging admiration. -
The Cea Forum 2021
Winter/Spring THE CEA FORUM 2021 William Blake’s Emoji: Composite Art and Composition Matthew Leporati College of Mount Saint Vincent “If you look closely at the letter C,” I explained to the class as I zoomed in on the title of William Blake’s poem “The Chimney Sweeper” on the projector screen, “you can see that inside the letter, there’s a child hunched over with his cleaning tools.” I paused for a moment and gestured toward the figure as I circled it with the laptop’s cursor. “Blake forces us to question the distinction between text and image. It’s a letter, but it’s also a picture.” “So it’s like an emoji,” one student laughed from the other side of the room. Several others nodded in agreement. I was teaching William Blake’s Songs of Innocence and of Experience in my freshman writing class, Writing in Context I at the College of Mount Saint Vincent, and we were examining “The Chimney Sweeper” from Songs of Innocence (Figure 1).1 This poem famously highlights the injustice of child labor in the eighteenth century and indirectly condemns the Church of England for tacitly supporting the exploitation of children by offering to the poor a message of conformity to the social order. Like most of Blake’s poems, the Songs were the product of his unique methods of printing: an engraver by trade, Blake wrote, illustrated, engraved, printed, colored, and sold his works with the help only of his wife, Catherine.2 The results of this process are what W.J.T. -
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. -
Earthdawn Rulebook Errata
Earthdawn Rulebook Errata The following errata apply to the hardcover edition of the Earthdawn rulebook only; they have been corrected in the softcover edition. Page 36: Step/Action Dice Table The Action Dice listed for Step 19 should be D20 + 2D6, NOT D20 + D6. Page 51: Mystic Armor The paragraph describing Mystic Armor should include the following sentence: "A character's Willpower Attribute determines his Mystic Armor Rating." Page 52: Lifting/Carrying Capacity Table The column heading for Lifting/Carrying Capacity should read, "Carrying Capacity/Lifting". The values remain the same. Page 53: Karma The paragraph describing Maximum Karma Points should read as follows: "Maximum Karma Points refers to the maximum number of Karma Points characters of each race can have at any one time." Page 71: Ork Cavalryman The Initiative Dice should be D6, NOT D8. Page 73: Dwarf Elementalist The Spellcasting Talent Step Number/Action Dice should be 9/D8 + D6, NOT 10/D10 + D6. Page 77: Human Nethermancer The Armor Rating should be 3, NOT 4. Page 119: Trick Riding Talent The Step Number should be Rank+Dexterity Step, NOT Rank+Willpower Step Page 179: Spirit Servant (Circle 4 Nethermancer Spell) The game statistics for this spell were left off the page. The statistics are as follows: Threads: 3 Weaving Difficulty: 8/20 Range: Touch Duration: 3 + Rank days Effect: Summons spirit servant Casting Difficulty: 9 RULES CLARIFICATION To clear up confusion as to how Karma is used in the game, FASA offers the following clarification. All adepts, as well as some of the more powerful creatures of Earthdawn, can tap into the world's magical energy in order to enhance their magical abilities. -
Binary Domination and Bondage: Blake's Representations of Race
Binary Domination and Bondage: Blake’s Representations of Race, Nationalism, and Gender Katherine Calvin Submitted to the Department of English, Vanderbilt University, in partial fulfillment of the requirements for Honors in the Major, April 17, 2013 Table of Contents Introduction…………………………………………………..………………………1 I. Blake’s Theory and Technique…………………….…………………………………..3 II. Revealing (and Contesting) the Racial Binary in Blake’s “The Little Black Boy”.......14 III. Colonization, Revolution, and the Consequences in America, A Prophecy …...……..33 IV. Gender and Rhetoric in Visions of the Daughters of Albion …………………..…..…63 Conclusion…………………………………………………………………………….90 Selected Bibliography……………………………………………………...………….93 Introduction “Thy soft American plains are mine and mine thy north and south/ Stampt with my signet are the swarthy children of the sun.”1 In William Blake’s Visions of the Daughters of Albion, the rapist Bromion decries his victim Oothoon on the basis of three conflated identities: race, colonial status, and gender. With his seed already sown in her womb, he pledges that her “swarthy” offspring will bear not only his genetic signet but also labor in subservience to him, the colonial master. Bromion himself encompasses everything Oothoon is not—he is a white male in the act of colonization while she is a female lashed to the identity of America, which is ethnically and politically subservient. Written in an age of burgeoning political and social radicalism, Visions nonetheless fails to conclude with the triumphant victory of Oothoon, -
How the Devils in William Blake's Marriage Of
A Thesis entitled Burning Sensations: How the Devils in William Blake’s Marriage of Heaven and Hell Illustrate the Creation of New Texts by: Joshua A. Mooney as partial fulfillment of the requirements for the Bachelor of Arts Degree with Honors in English Thesis Director:___________________________ Dr. Andrew Mattison Honors Advisor:___________________________ Dr. Melissa Valiska Gregory Honors Program Director:___________________________ Dr. Thomas E. Barden University of Toledo DECEMBER 2010 Abstract Critics approaching Marriage of Heaven and Hell (1790?) have often described the Devils appearing in the work to be creatures that exemplify creative energy. This creative energy is seen by David V. Erdman as part of Blake’s revolutionary sympathies and by Northrop Frye as part of a mythical representation of actively procreative forces. I wish to explore how the Devils seen in MHH function as exemplary of a relation between existing texts such as those of the Bible or “Swedenborg’s volumes” ( MHH 19) 1 and the minds of those who are inspired to create new works from them. The Devils featured throughout MHH do not exist merely to destroy or negate existing texts in order to make way for new ones, nor do they wish to subjugate the minds of those who adhere to such documents to a status beneath that of themselves. Rather, the Devils enact their fiery energies upon religious texts or minds, altering them in an act of renewal that does not destroy but empowers the mind or text, treating it as if it were a medium for creating new art. I explore various examples of this devilish energy as illustrating of a creative vision that involves a dynamic relationship between a text and the human mind’s experience of it. -
Dragon Magazine #236
The dying game y first PC was a fighter named Random. I had just read “Let’s go!” we cried as one. Roger Zelazny’s Nine Princes in Amber and thought that Mike held up the map for us to see, though Jeff and I weren’t Random was a hipper name than Corwin, even though the lat- allowed to touch it. The first room had maybe ten doors in it. ter was clearly the man. He lasted exactly one encounter. Orcs. One portal looked especially inviting, with multi-colored veils My second PC was a thief named Roulette, which I thought drawn before an archway. I pointed, and the others agreed. was a clever name. Roulette enjoyed a longer career: roughly “Are you sure you want to go there?” asked Mike. one session. Near the end, after suffering through Roulette’s “Yeah. I want a vorpal sword,” I said greedily. determined efforts to search every 10’-square of floor, wall, and “It’s the most dangerous place in the dungeon,” he warned. ceiling in the dungeon, Jeff the DM decided on a whim that the “I’ll wait and see what happens to him,” said Jeff. The coward. wall my thief had just searched was, in fact, coated with contact “C’mon, guys! If we work together, we can make it.” I really poison. I rolled a three to save. wanted a vorpal sword. One by one they demurred, until I Thus ensued my first player-DM argument. There wasn’t declared I’d go by myself and keep all the treasure I found. -
Between 1789 and 1792
鳥取大学教育学部研究報告 人文 社会科学 第 48巻 第 2号 (1997) The Rise and Fa1l of the Myth of Orc(1): Orc's Origin Traced in Blake's Poems Composed Between 1789 and 1792 Ayako Wada Northrop Frye attributed the failure of予石α,α/T力 ι Яθttγ Zο αs partly to the indeterminacy of who― Orc or Los― was the true protagonist in precipitating the Last Judgment.He says: The Last 」udgment silnply starts off 、vith a bang, as an instinctive shudder of self― preservation against a tyranny of intolerable menace.If so,then it is not really the work of Los....it iS old revolutionary doctrine of a spontaneous reappearance of Orc.ユ Frye overlooked the hidden dyna■ �cs by which Los attains heroic status and thereby occasions the LastJudgment.Remarkable,nevertheless,is his insight that Orc used to be the central figure of レ物,α.Indeed, レ物′α was almost certainly proieCted to evolve from the fragmentary myths developed in Blake's earlier works a comprehensive vision of the Fall and Judgment Of the cosmic h/1an.Those fragmentary myths came together when Orc、vas identified as the generated form of Luvah.This crucial idea is■ ot found in T力θ Bο ο″っF」77izι η,as is clear from the fact that the poe■1, although meant to be the first book of a longer study of the Fall and probably 」udgment,came to a dead end because of the lack of this crucial identity of Orc. This moment of inspiration is,in my view,expressed in 4物 を打θα.2 The COmpletion of the myth of Orc and its coHapse is found only in the Preludiunl ofス 滅 θα.This rise and fa1l of the myth of Orc can be seen as reflecting the formation and