The Train Job.Fdr Script
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Legendary Encounters Rules – Firefly
® ™ A Deck Building Game “You got a job, we can do it. Don’t much and wound the players. If you take damage care what it is.” – Captain Malcolm Reynolds equal to or greater than your health, then you’re defeated. Don’t worry though – another Game Summary player can heal you back into the game. But if Welcome to Legendary ® Encounters: everyone gets defeated at the same time, then A Firefly™ Deck Building Game. In this fully you lose. cooperative game for 1-5 players, you’ll take Some enemies attack Serenity herself. If she on the role of Mal, Zoe or one of the other takes too many hits, then it’s all over. crew members. Your First Game You start with a deck of basic cards and For your first game, follow the setup rules on a special Talent card. At the start of your Page 3, using the specific card stacks listed turn, take a card from the Episode deck and there. This will allow you to play the Pilot place it face-down onto the board. It could Episode “Serenity” and “The Train Job.” be an outlaw thug, an alliance ship, or even (Note: The Pilot episode is split into two a reaver raiding party. You’ll play cards separate Episode Decks.) from your hand to generate Attack, Recruit After your first game, you can play through Points, and special abilities. You’ll use all 14 Episodes of the series or mix and match Attack to defeat enemies and to scan hidden Episodes to play them in a different order. -
Sample File110 TRACEY SMITH
CREDITS Written By: Monica Valentinelli, Mark Diaz Truman, Brendan Conway, Dean Gilbert, and Jack Norris Additional Writing By: Margaret Weis, Rob Wieland, P.K. Sullivan, Philippe-Antoine Ménard, Cam Banks, and Dave Chalker Developed By: Monica Valentinelli and Mark Diaz Truman Systems Design By: Cam Banks, Dave Chalker, Philippe-Antoine Ménard, Rob Wieland, P.K. Sullivan, Dean Gilbert, and Mark Diaz Truman Rules Editing By: Mark Diaz Truman Design and Layout By: Daniel Solis and Thomas Deeny Title Page Art By: Crystal Ben Interior Art By: Marie Bergeron, Kurt Komoda, Ben Mund, James Nelson, Alejandro Monge, and Christopher West Edited By: Amanda Valentine, Alexander Perry, and Sally Christensen Series Research By: Chad Underkoffler Crew/Ship Sheet Enhancement By: Chris “Mr. Gone” Leland Playtested By: Sarah Babe, Amie Barnard, Bill Bodden,Sample Jeff Bridges, fileArcher Cafiso, Paul Cafiso, Dave Chalker, Brad Davies, John Drobina, Mike Fitch, E Foley, John Frazier, Jim Henley, Grace Jacobson, Marissa Kelly, Lauren Lyons, Matt M McElroy, Andie Miller, Matthew Nielsen, Brian Poe, Robert Ramus, Benjamin Rogers, Justin Rogers, Erik Stant, Paul Truman, Mark Diaz Truman, Dennis Twigg, Monica Valentinelli, Rob Wieland, and Ben Woerner STAFF Chief Executive: Margaret Weis Business Manager: Christi Cardenas MARGARET Brand Manager: Monica Valentinelli WEIS Systems Lead Designer: Mark Diaz Truman PRODUCTIONS, ltd. Art Director: Daniel Solis Assistant Art Director: Thomas Deeny MARGARETWEIS.COM MARGARET WEIS PRODUCTIONS, THE MW LOGO, CORTEX SYSTEM, -
Kaylee Frye, an Incomplete Role Model
Casey Canfield Disciplinary Deliverable 12/16/09 Kaylee Frye, an Incomplete Role Model It’s easy to turn on the TV and find shows about how fun and exciting it is to be a doctor, lawyer, or FBI agent – but what about being an engineer? Where’s the glamour and excitement in that? You could try some of the reality shows on the Discovery and Science channels and watch Doing DaVinci, Building it Bigger, or Heavy Metal Task Force. Or maybe you watch American Chopper or Restorer Guy on TLC. The problem is that all of these shows are for and about men and describe men’s relationship with creating and caring for technology. As a female engineer, I find my invisibility in the media problematic. But that is why I got so excited about Joss Whedon’s Firefly, which depicted a woman named Kaylee Frye as the ship’s engineer. In the real world, some women have difficulty balancing their desires to be feminine and their desire to be taken seriously as an engineer. Since engineers are coded as masculine, feminine-presenting women are automatically taken less seriously as engineers. While this tension was reflected in Kaylee’s character, there were missing elements in her back story that made her feel less real. Where and how did she learn so much about engines? What was her childhood like? Was becoming an engineer her life’s ambition? Granted, she’s a relatively minor character and the series ended incomplete, but the issues that were left unresolved reflect the issues that women in engineering engage with every day. -
I Really Need to Know I Learned from Firefly
This combination of situations has made him a scoundrel trying to ignore his “heart of gold”, his mercenary inten- tions competing with the better instincts and morals of his past. With the scoundrel captain is the proverbial motley tm crew: Wash, the easy-going, wise-cracking pilot; Jayne, the anything-for-a-buck mercenary; Kaylee, the eternally- optimistic ship's engineer, and Zoe, Malcolm's first mate and comrade from the war. (At first blush, it's almost like you could see their character sheets off to the side.) By James Laird Davenport Also along for the ride is 'Inara', a member of an exclu- sive Guild of Companions. or those poor unfortunates who missed its brief She's more than a classy prostitute; she's a romantic- life on television, Firefly was one of the best gam- interest for the hardened Malcolm. Criminals when nec- F ing series ever produced. While it wasn't about essary, the crew seeks 'to keep fuel in the tanks and food gamers per se, it was quite easy to envision that we were on the table'. watching the adventures of a gaming group, in this case At the beginning of the series, they pick up in a space opera campaign. The show had an engaging three passengers who become de facto members of the ensemble of characters, great stories, and a unique vision crew: Simon, the doctor; River, Simon's mentally-addled, of the future. What more could you ask from a gaming fugitive sister; and Shepherd Book, the preacher looking campaign? to experience life outside the monastery. -
Firefly Rulebook.Pdf
FIREFLY - THE GAME After the Earth was used up, we found a new solar system and hundreds of new Earths were terraformed and colonized. The central planets formed the Alliance and decided all the planets had to join under their rule. There was some disagreement on that point. After the War, many of the Independents who had fought and lost drifted to the edges of the system, far from Alliance control. Out here, people struggled to get by with the most basic SUPPLY DECKS CONTACT DECKS technologies; a ship would bring you The 5 Supply Decks contain the Contacts have a variety of Jobs they’d work, a gun would help you keep it. A Crew, Gear and Ship Upgrades you like you to undertake. Contacts will captain’s goal was simple: find a crew, need to successfully make your way provide the Work you need to keep find a job, keep flying. through the ’Verse. Each Supply Deck your ship flying. Each Contact Deck Welcome to the ’Verse... corresponds to a specific location on corresponds to a specific location on the game board. the game board. BOX CONTENTS CREW 5 Supply Decks - 25 Cards Each DELIVERIES 5 Contact Decks - 25 Cards Each Crew are the various Goods aren’t going 2 Nav Decks - 40 Cards Each riffraff, ne’er-do-wells and to move themselves. drifters that congregate Misbehave Deck - 40 Cards The ’Verse has a around the many docks 11 Set Up Cards wide variety of stuff of the ’Verse. Choosing that needs to be taken elsewhere. 4 Ship Cards the right Crew is key to Currency - 150 Bills running a successful CRIME 6 Story Cards Ship. -
You Can't Take the Sky from Me
“You Can’t Take the Sky from Me”: An Ethnographic Case Study in Community Construction A Senior Honor Thesis Presented in Partial Fulfillment of the Requirements for Graduation with Research Distinction in Comparative Studies in the Undergraduate Colleges of The Ohio State University by Michael Wiatrowski The Ohio State University May 2010 Project Advisors: Professor Dorothy Noyes, Departments of Anthropology, Comparative Studies & English Professor Amy Shuman, Departments of Anthropology, Comparative Studies, English & Women’s Studies. ii Take my love, Take my land, Take me where I cannot stand. I don’t care, I’m still free, You can’t take the sky from me. Take me out, To the Black, Tell ‘em I ain’t coming back. I don’t care, I’m still free, You can’t take the sky from me. There’s no place I can be Since I found Serenity. You can’t take the sky from me. ~ The Ballad of Serenity iii Table of Contents Introduction Contemporary Community Construction 01 Context Deconstructing Firefly 05 Creating Spaces 11 Cultural Constructs I: Form and Use Language 15 Narrative 18 Visual Art 21 Clothing 22 Music and Multimedia 25 Cultural Constructs II: Imagining, Creating and Maintaining Community Creating & Maintaining Community through Meaning 29 Imagining Community 33 Complicating the Matter The Dynamics of Cultural Consumers and Producers 35 Conclusion The Contemporary Community in Review 37 Appendices A Supplemental Catalog of Images 39 A Common Browncoat Lexicon 45 Browncoat Chinese with Translations 51 References and Resources 54 1 Contemporary Community Construction “Community” is one of those words – like folklore, myth, tradition or ritual – that is casually tossed about in everyday speech, a word which is apparently readily understood by both speaker and listener. -
Greg Thain Center for High Throughput Computing
HTCondor Advanced Job Submission John (TJ) Knoeller Center for High Throughput Computing Overview › Development of an advanced submit file › Using as many techniques and tricks as possible. 2 The Problem › I have a lot of media files that I have collected over the years. › I want to convert them all to .mp4 (Sounds like a high-throughput problem…) 3 Basic submit file for conversion Executable = ffmpeg Transfer_executable = false Should_transfer_files = YES file = S1E2 The Train Job.wmv Transfer_input_files = $(file) Args = "-i '$(file)' '$(file).mp4'" Queue 4 Converting a set of files Transfer_input_files = $(file) Args = "-i '$(file)' '$(file).mp4' " Queue FILE from ( S1E1 Serenity.wmv S1E2 The Train Job.wmv S1E3 Bushwhacked.wmv S1E4 Shindig.wmv … ) 5 Output filename problems › Output is $(file).mp4. So output files are named S1E1 Serenity.wmv.mp4 S1E2 The Train Job.wmv.mp4 S1E3 Bushwhacked.wmv.mp4 S1E4 Shindig.wmv.mp4 6 $F() to the rescue › $Fqpdnx() expands to parts of a filename file = "./Video/Firefly/S1E4 Shindig.wmv" $Fp(file) -> ./Video/Firefly/ $Fqp(file) -> "./Video/Firefly" $Fd(file) -> Firefly/ $Fn(file) -> S1E4 Shindig $Fx(file) -> .wmv $Fnx(file) -> S1E4 Shindig.wmv 7 $Fn() is name without extension Transfer_Input_Files = $(file) Args = "-i '$Fnx(file)' '$Fn(file).mp4'" Resulting files are now S1E1 Serenity.mp4 S1E2 The Train Job.mp4 S1E3 Bushwhacked.mp4 S1E4 Shindig.mp4 8 $Fq() and Arguments › $Fq(file) expands to quoted "filename" Gives "parse error" with Arguments statement › For Args use '$F(file)' instead. Becomes 'filename' on LINUX Becomes "filename" on Windows 9 "new" Args preserves spaces FILE = The Train Job.wmv Args = "-i '$Fnx(file)' -w640 '$Fn(file).mp4' " # Tool Tip* see it before you submit it. -
Teaching Firefly
Teaching Firefly James Rocha California State University, Fresno In this paper, I will examine my experiences in teaching value theory, broadly construed (including political philosophy, ethics, and existentialism), through Joss Whedon’s Firefly. What I hope to show from these experiences is how using science fiction engages the students, enlivens discussions, and provides fully thought-out examples that allow us to think about philosophical issues in unique and useful ways. Before addressing these specific issues, it will be useful to note why science fiction in general is helpful for philosophy teaching in these sorts of ways. Let’s examine how science fiction can assist the teacher of political philosophy. A significant part of political philosophy involves examining societies, both ideal and non- ideal, while considering numerous conditions and circumstances that have likely never existed in real life. While historical and contemporary examples are sometimes useful, they often run short. Yet, purely made up examples often lack the fleshed-out details necessary to fully analyze the philosophical issues, e.g. what an anarchist society might look like or what practical problems you might run into when attempting to encase freedom in unchartered territory hidden away from the watchful eye of empire. Fortunately, in such cases, we have science fiction to provide us with a helping hand. My primary claim here then is that science fiction provides elaborate examples that allow philosophers to test out their intuitions with checks and balances provided by writers who seek to create fictitious, but plausible universes. That is, the philosopher cannot develop an entire, detailed universe for the purpose of describing a theory. -
Fan Campaigns of Firefly and Veronica Mars
I give permission for public access to my thesis and for any copying to be done at the discretion of the archives librarian and/or the College librarian. Simone D. Becque May 18, 2007 Big Damn Fans: Fan Campaigns of Firefly and Veronica Mars Simone Becque Thesis 2007 Department of Sociology and Anthropology Advisor: Eleanor Townsley Table of Contents Acknowledgements i Table of Figures ii Table of Appendices ii Chapter One: You Can’t Take the Sky from Me 1 Studio 60: Criteria for Fan Campaign Development 3 Television Programming 6 Technologies and Fan Practices 8 What about Other Campaigns? The Selection of Case Studies and Methods 13 TV As the Final Frontier: The Importance of Alternative Production Space 14 Chapter Two: Still Flying, the Fan Campaigns for Firefly 17 Welcome to the ‘Verse 17 Production 19 This is Joss, Space is Black and Scary: the Whedon Timeline 22 Fan Campaign Efforts 27 Language of the ‘Verse: “Your ‘Verse Your Words” 33 They Were Glemphy: the Narrative of Fox 36 The Neighborhood Pub: the Social Element of Fan Campaigns 37 Still Flying? 38 Chapter Three: Veronica Mars, a Fan a Day Keeps Cancellation at Bay 40 Veronica Mars 41 Friends in High Places: the Role of Mainstream Media 43 Actors/Creators and the Fan Importance Narrative 46 The Documentation of Fan Efforts 54 Conclusion You Can’t Stop the Signal 68 My Barack Obama [dot] com: Fan Campaigns and Politics 68 Locating the Power in Television Programming 71 Still Flying: the Release of the Fan Importance Narrative 73 Tables 75 Appendices 78 Bibliography 92 i Acknowledgments This project would not have been possible without several groups of people helping and supporting me along the way. -
Analyzing Whedon's Firefly As Impetus
ANALYZING WHEDON’S FIREFLY AS IMPETUS FOR A DEVELOPMENT STRATEGY FOR AN ALTERNATE HISTORY, SCI-FI TELEVISION SERIES _______________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science in Communication ______________________________________ by Andrew C. Essig April 2016 Table of Contents Thesis Introduction………………………………………………………………………………. 1 Firefly’s Legacy………………………………………………………………………………….. 8 Introduction………………………………………………………………………………. 8 Universe and World-Building…………………………………………………………... 15 Character………………………………………………………………………………... 19 Plot…………………………………………………………………………………….... 27 Conclusion…………………………………………………………………………….... 31 Science Fiction as Genre………………………………………………………………………... 36 Introduction……………………………………………………………………………... 36 Society in Conflict……………………………………………………………………… 44 Expansive Travel……………………………………………………………………….. 48 Alienation………………………………………………………………………………. 53 Conclusion……………………………………………………………………………… 59 The Alternate History Twist……………………………………………………………………. 64 Introduction……………………………………………………………………………... 64 Alternate History in Narrative………………………………………………………….. 74 Conclusion…………………………………………………………………………….... 83 Sub Culture……………………………………………………………………………………... 87 Introduction……………………………………………………………………………... 87 Script……………………………………………………………………………………. 93 Conclusion………………………………………………………………………….…. 153 Bibliography………………………………………………………………………………...… -
Simon & Samwise
Journal of Tolkien Research Volume 10 Issue 1 J.R.R. Tolkien and the works of Joss Article 9 Whedon 2020 Simon & Samwise: Big Damn Heroes Andrew Peterson Independent Scholar, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Literature in English, British Isles Commons, and the Television Commons Recommended Citation Peterson, Andrew (2020) "Simon & Samwise: Big Damn Heroes," Journal of Tolkien Research: Vol. 10 : Iss. 1 , Article 9. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss1/9 This Peer-Reviewed Article is brought to you for free and open access by the Christopher Center Library at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Peterson: Simon & Samwise: Big Damn Heroes SIMON & SAMWISE: BIG DAMN HEROES River Tam and Frodo Baggins are each burdened with the means to end the struggle against a mighty oppressor in Firefly and The Lord of the Rings, respectively. Each is blessed with a loyal protector who fiercely defends his charge from threats from both the world and within their respective fellowships, as the mercenary Jayne Cobb and the warrior Boromir betray the heroes in the course of their journeys. Finally, it is only the ministration of their protectors that allows River and Frodo to complete their missions. A closer look at both stories will reveal the similarities between River Tam and Frodo Baggins and between the staunch protectors who love them: River's brother Dr. -
Understanding the Televisual Auteur
Wesleyan University The Honors College I’ve Got a Theory, It Could Be Whedon: Understanding the Televisual Auteur by Allison Louise Cronan Class of 2017 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors from the College of Film and the Moving Image Middletown, Connecticut April, 2017 ACKNOWLEDGEMENTS Thank you first to my advisor, Scott Higgins. Your help on everything from specific ideas to organizational strategies was invaluable. Thank you for reading even my roughest pages and helping me find the good in them. And thank you for always helping me locate the joy in all the hard work. Thank you to Jeanine Basinger, for your incredible support. You gave me the tools to dig deep into Whedon’s work, and an instrumental idea of the baseline from which he approached various techniques and genres. Thank also to Marc Longenecker and Betsy Traube for teaching me how to critically analyze television. And thank you to the entire Wesleyan Film faculty for shaping the way I think about the moving image. I am also indebted to Lea Carlson, whose patience and overall help made the process of completing this work feel manageable. Thank you to my family—Mom, Dad, Megan, and Ryan. Thank you for always supporting me in everything, even when you found out I had to watch over 200 hours of television to work on this. Thank you to Sofi, Will, Kiley, and Alexa, who were a source of encouragement and a sounding board for ideas.