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Deadlands: Reloaded Core Rulebook
This electronic book is copyright Pinnacle Entertainment Group. Redistribution by print or by file is strictly prohibited. This pdf may be printed for personal use. The Weird West Reloaded Shane Lacy Hensley and BD Flory Savage Worlds by Shane Lacy Hensley Credits & Acknowledgements Additional Material: Simon Lucas, Paul “Wiggy” Wade-Williams, Dave Blewer, Piotr Korys Editing: Simon Lucas, Dave Blewer, Piotr Korys, Jens Rushing Cover, Layout, and Graphic Design: Aaron Acevedo, Travis Anderson, Thomas Denmark Typesetting: Simon Lucas Cartography: John Worsley Special Thanks: To Clint Black, Dave Blewer, Kirsty Crabb, Rob “Tex” Elliott, Sean Fish, John Goff, John & Christy Hopler, Aaron Isaac, Jay, Amy, and Hayden Kyle, Piotr Korys, Rob Lusk, Randy Mosiondz, Cindi Rice, Dirk Ringersma, John Frank Rosenblum, Dave Ross, Jens Rushing, Zeke Sparkes, Teller, Paul “Wiggy” Wade-Williams, Frank Uchmanowicz, and all those who helped us make the original Deadlands a premiere property. Fan Dedication: To Nick Zachariasen, Eric Avedissian, Sean Fish, and all the other Deadlands fans who have kept us honest for the last 10 years. Personal Dedication: To mom, dad, Michelle, Caden, and Ronan. Thank you for all the love and support. You are my world. B.D.’s Dedication: To my parents, for everything. Sorry this took so long. Interior Artwork: Aaron Acevedo, Travis Anderson, Chris Appel, Tom Baxa, Melissa A. Benson, Theodor Black, Peter Bradley, Brom, Heather Burton, Paul Carrick, Jim Crabtree, Thomas Denmark, Cris Dornaus, Jason Engle, Edward Fetterman, -
MAY 19Th 2018
5z May 19th We love you, Archivist! MAY 19th 2018 Attention PDF authors and publishers: Da Archive runs on your tolerance. If you want your product removed from this list, just tell us and it will not be included. This is a compilation of pdf share threads since 2015 and the rpg generals threads. Some things are from even earlier, like Lotsastuff’s collection. Thanks Lotsastuff, your pdf was inspirational. And all the Awesome Pioneer Dudes who built the foundations. Many of their names are still in the Big Collections A THOUSAND THANK YOUS to the Anon Brigade, who do all the digging, loading, and posting. Especially those elite commandos, the Nametag Legionaires, who selflessly achieve the improbable. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – The New Big Dog on the Block is Da Curated Archive. It probably has what you are looking for, so you might want to look there first. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – Don't think of this as a library index, think of it as Portobello Road in London, filled with bookstores and little street market booths and you have to talk to each shopkeeper. It has been cleaned up some, labeled poorly, and shuffled about a little to perhaps be more useful. There are links to ~16,000 pdfs. Don't be intimidated, some are duplicates. Go get a coffee and browse. Some links are encoded without a hyperlink to restrict spiderbot activity. You will have to complete the link. Sorry for the inconvenience. Others are encoded but have a working hyperlink underneath. Some are Spoonerisms or even written backwards, Enjoy! ss, @SS or $$ is Send Spaace, m3g@ is Megaa, <d0t> is a period or dot as in dot com, etc. -
Raiders and Ruins
Raiders and Ruins By Nathan-–Patches-Reed Credits Author: Nathan Reed Publisher: Editor: Sarah Lyon Art Director: Nathan Reed Graphic Designer: Nathan Reed Layout: Nathan Reed Cover Artist: Tamas Baranya Cover Designer: Nathan Reed Interior Artists: Tamas Baranya, Don Davis, Nathan Reed, James P. Blair Diagrams: Fonts: Boycott, Arial Indexes: Nathan Reed Proofreaders: John Michael Scott, Challon Winer Miniatures in Photos: www.Brother-Vinni.com, Artizan Designs, Armorcast, WorldWorks, Reaper Miniatures, Games-Workshop. Raiders and Ruins This game references the Savage Worlds game system, available from Pinnacle Entertainment Group at www.peginc.com. Savage Worlds and all associated logos and trademarks are copyrights of Pinnacle Entertainment Group. Used with permission. Pinnacle makes no representation or warranty as to the quality, viability, or suitability for purpose of this product. Licensee indemnifies Licensor, other licensees of the Property, their officers, employees, agents, licensees, and assigns, and holds them harmless against all loss, damage, injury, and expense, including reasonable attorney’s fees, from any breach of this Agreement. 1) The licensee agrees not to reproduce material from the Savage Worlds rulebook or any other copyrighted work without the express written consent of Pinnacle Entertainment Group or the copyright holder. 2) Pinnacle Entertainment Group reserves all intellectual property rights to Savage Worlds, including, but not limited to, all copyrights, trademarks, hobby game, publishing, entertainment, licensing and merchandising rights. 3) Pinnacle Entertainment Group reserves all rights to its Intellectual Properties, including those used as examples or illustrations in the Savage Worlds rule book, promotional material, or published works. 4) This licensee agrees not to charge for the product in any way, shape, or form. -
MARCH 1St 2018
March 1st We love you, Archivist! MARCH 1st 2018 Attention PDF authors and publishers: Da Archive runs on your tolerance. If you want your product removed from this list, just tell us and it will not be included. This is a compilation of pdf share threads since 2015 and the rpg generals threads. Some things are from even earlier, like Lotsastuff’s collection. Thanks Lotsastuff, your pdf was inspirational. And all the Awesome Pioneer Dudes who built the foundations. Many of their names are still in the Big Collections A THOUSAND THANK YOUS to the Anon Brigade, who do all the digging, loading, and posting. Especially those elite commandos, the Nametag Legionaires, who selflessly achieve the improbable. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – The New Big Dog on the Block is Da Curated Archive. It probably has what you are looking for, so you might want to look there first. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – Don't think of this as a library index, think of it as Portobello Road in London, filled with bookstores and little street market booths and you have to talk to each shopkeeper. It has been cleaned up some, labeled poorly, and shuffled about a little to perhaps be more useful. There are links to ~16,000 pdfs. Don't be intimidated, some are duplicates. Go get a coffee and browse. Some links are encoded without a hyperlink to restrict spiderbot activity. You will have to complete the link. Sorry for the inconvenience. Others are encoded but have a working hyperlink underneath. Some are Spoonerisms or even written backwards, Enjoy! ss, @SS or $$ is Send Spaace, m3g@ is Megaa, <d0t> is a period or dot as in dot com, etc. -
Cultural Stereotypes: from Dracula's Myth to Contemporary Diasporic Productions
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2006 Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions Ileana F. Popa Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1345 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. Ileana Florentina Popa BA, University of Bucharest, February 1991 MA, Virginia Commonwealth University, May 2006 Director: Marcel Cornis-Pope, Chair, Department of English Virginia Commonwealth University Richmond, Virginia May 2006 Table of Contents Page Abstract.. ...............................................................................................vi Chapter I. About Stereotypes and Stereotyping. Definitions, Categories, Examples ..............................................................................1 a. Ethnic stereotypes.. ........................................................................3 b. Racial stereotypes. -
I STEVE JACKSON GAMES ,; Ancient Howor Crawls Into the Dark Future
I STEVE JACKSON GAMES ,; Ancient Howor Crawls into the Dark Future By Chris W. McCubbin Edited by Scott D. Haring Cover by Albert Slark Illustrated by Dan Smith GURPS System Design by Steve Jackson Scott Haring, Managing Editor Page Layout, Typography and Interior Production by Rick Martin Cover Production by Jeff Koke Art Direction by Lillian Butler Print Buying by Andrew Hartsock and Monica Stephens Dana Blankenship, Sales Manager Thanks to Dm Smith Additional Material by David Ellis Dickerson Bibliographic information compiled by Chris Jarocha-Emst Proofreading by Spike Y. Jones Playtesters: Bob Angell, Sean Barrett, Kaye Barry, C. Milton Beeghly, James Cloos, Mike DeSanto, Morgan Goulet, David G. Haren, Dave Magnenat, Virginia L. Nelson, James Rouse, Karen Sakamoto, Michael Sullivan and Craig Tsuchiya GURPS and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid and the names of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license. Cull of Cihulhu is a trademark of Chaosium Inc. and is used by permission. Elder Sign art (p. 55) used by permission of Chaosium Inc. GURPS CihuIhuPunk is copyright 0 1995 by Steve Jackson Games Incorporated. All rights reserved. Printed in the U.S.A ISBN 1-55634-288-8 Introduction ................................ 4 Central and South America ..27 Hacker ..................................43 About GURPS ............................4 The Pacific Rim ...................27 -
Vampire Cinema, FALL 2018 Instructor: Professor Dragan Kujundzic Walker Hall JST Seminar Room ENG 4133 JST 4936 Office 203 Walker Hall Email: [email protected]
Vampire Cinema, FALL 2018 Instructor: Professor Dragan Kujundzic Walker Hall JST Seminar Room ENG 4133 JST 4936 Office 203 Walker Hall Email: [email protected] The course will be offered in the Fall of 2018, and again as Vampire London in the Summer A, 2019, in London, UK, as a part of the newly organized UF Program Abroad in London : Vampires, werewolves, ghosts and apparitions from Bram Stoker, to Francis Ford Coppola and Anne Rice. The course will address issues of vampire and vEmpire (the imperial politics behind vampirism), vampirism and psychoanalysis, vampirism and modernism, vampirism and cinema, queer, gay and lesbian vampires, vampires of East and Central Europe, vampirism and anti-Semitism, vampirism and religion, vampirism and nationalism, history of blood in religion, film and literature, etc. : The course will discuss the figure of the vampire in cinema and literature (Bram Stoker’s Dracula will be read or screened and analyzed, among others; particular attention will be given to the novel as a proto- cinematic medium), as well as the rendering of the vampire in cinema (from Murnau’s Nosferatu, to Coppola’s Bram Stoker’s Dracula, Roman Polanski’s The Fearless Vampire Slayers Buffy the Vampire Slayer, and Twilight among others). The course will introduce students to the classics of vampire cinema as well as to the contemporary production in the genre of vampire films, television series, etc. : Student learning objectives: the students will learn about the rich tradition of vampires in literature and cinema, as this tradition relates to the history of London and the British Empire. -
1554507973685.Pdf
MONSTROUS SECRET MASTERS OF REALITY By Kenneth Hite Additional material by J.M. Caparula, Scott Haring, and S. John Ross Edited by Sean Punch Illustrated by Kent Burles and Christopher Shy Additional illustrations by Shea Ryan Cover by Christopher Shy GURPS System Design Steve Jackson GURPS Line Editor Sean Punch Production Manager Gene Seabolt Production Artist Philip Reed Production Assistant Remi Treuer Print Buyer Paul Rickert Art Director Philip Reed Errata Coordinator Andy Vetromile Playtesters: Michele Armellini, Thomas Barnes, Maxim Belankov, Frederick Brackin, Michael Brewer, Benjamin Brighoff, Mark Cogan, David Cunnius, Marco De Stefani, Thomas Devine, Travis Foster, Jeremiah Genest, Scott Harris, Joanna Hart, Hunter Johnson, Jonathan Lang, John Macek, Phil Masters, Craig Neumeier, Jeff Raglin, Curtis Shenton, Brian C. Smithson, William H. Stoddard, Paul Tevis, Dan Tompkins, Chad Underkoffler, and Jonathan Woodward. Special thanks to: GURPS Savant Tracy Ratcliff for assistance with, and to Marco De Stefani for checking, racial statistics. GURPS,Warehouse 23, and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid and the names of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license. GURPS Cabal copyright © 2001 by Steve Jackson Games Incorporated. All rights reserved. Some art copyright www.arttoday.com. ISBN 1-55634-429-5 1 2 3 4 5 6 7 8 9 10 STEVE JACKSON GAMES CONTENTS THE PARTING 3. REALMS AND Roêlêd . 70 6. CABAL Ruax . 70 OF THE VEIL ..... 3 SPHERES ..... .42 Sahu . 70 CHARACTERS .. .91 About GURPS ............. 3 THE NATURE OF REALITY ..... -
Savage Worlds Created By: Shane Lacy Hensley
THE TOMORROW LEGION ARCHETYPES (SET 2) Written By: Sean Patrick Fannon, Sean Owen Roberson, John Stevens, and John Roccia Cover/Interior Illustrations: Matheus Calza, Martin de Diego Sádaba, Aaron Riley, Gunship Revolution’s Brian Valeza, Justine Cruz, Timothy Terrenal and Oliver Morit Graphic Design & Layout: Aaron Acevedo, Jason Engle, Thomas Shook Editing: Jodi Black, Carinn Seabolt Art Direction: Aaron Acevedo, Alida Saxon Line Manager: Sean Owen Roberson Executive Producer: Simon Lucas Rifts® Created By: Kevin Siembieda of Palladium Books® Savage Worlds Created By: Shane Lacy Hensley Playtest and Advice: the illustrious playtesters of the official Pinnacle feedback forums WWW.PEGINC.COM V A G S A E W S A O R L D DV ION SampleENTUR E EDIT file Savage Worlds is © 2021 and TM Pinnacle Entertainment Group. All Rights Reserved. © 2021Palladium Books Inc. All rights reserved, worldwide. Rifts® and Megaverse® are Registered Trademarks of Palladium Books, Inc. All character names and likenesses are copyright and trademarks owned by Palladium Books, Inc. and used under license. BURSTER ARIEL FIREDANCER CHARACTER BACKGROUND to adjacent foes at the end his turn, and providing +6 Armor. “I am the light that casts back the darkness. I am the fire that cleanses the By spending 3 ISP when activating the Fiery Aura does Mega stain of corruption. I am a Burster, and my soul dances in the flames.” Damage and Armor provides MDC protection for 5 rounds. Ariel Ortiz was fourteen when her village in the Texas Freelands Fiery Aura goes away if she is Incapacitated or unconscious. was attacked by ruthless bandits. -
Preview of The
® G U R GURPS P S B L O O D T Y P E S DARK PREDATORS AND DEADLY PREY: VAMPIRES AND VAMPIRE HUNTERS S T E V E J A C K S O N G A M BB YY LL ANEANE GG RATERATE E S STEVE JACKSON GAMES INTRODUCTION.............................4 Tournefort in Mykonos .........................................25 The Vampire of Croglin Grange ...........................27 Good Evening.............................................................5 The Gothic Tale ....................................................28 The Legend of the Vampire........................................5 The Modern Vampire ...............................................29 About GURPS ........................................................5 Film ......................................................................29 What is a Vampire? ................................................6 Lord Byron............................................................29 About the Author ....................................................6 Life After Death .......................................................30 Elements of the Vampire Legend...............................7 Life, Death and Beyond .......................................30 Death ......................................................................7 Bram Stoker..........................................................30 Symbolism of the Vampire Legend..........................7 Lord Ruthven ........................................................31 Disease ...................................................................8 Day and -
Cultural Stereotypes: from Dracula's Myth to Contemporary Diasporic Productions Ileana F
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by VCU Scholars Compass Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2006 Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions Ileana F. Popa Virginia Commonwealth University Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/1345 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. Ileana Florentina Popa BA, University of Bucharest, February 1991 MA, Virginia Commonwealth University, May 2006 Director: Marcel Cornis-Pope, Chair, Department of English Virginia Commonwealth University Richmond, Virginia May 2006 Table of Contents Page Abstract.. ...............................................................................................vi Chapter I. About Stereotypes and Stereotyping. Definitions, Categories, Examples ..............................................................................1 a. Ethnic -
Dracula As Inter-American Film Icon: Universal Pictures and Cinematográfica ABSA
University of Mary Washington Eagle Scholar English, Linguistics, and Communication College of Arts and Sciences 2020 Dracula as Inter-American Film Icon: Universal Pictures and Cinematográfica ABSA Antonio Barrenechea Follow this and additional works at: https://scholar.umw.edu/elc Part of the Film and Media Studies Commons, Latin American Languages and Societies Commons, and the Literature in English, British Isles Commons Review of International American Studies VARIA RIAS Vol. 13, Spring—Summer № 1 /2020 ISSN 1991—2773 DOI: https://doi.org/10.31261/rias.8908 DRACULA AS INTER-AMERICAN FILM ICON Universal Pictures and Cinematográfca ABSA introduction: the migrant vampire In Bram Stoker’s Dracula (1897), Jonathan Harker and the Tran- Antonio Barrenechea University of sylvanian count frst come together over a piece of real estate. Mary Washington The purchase of Carfax Abbey is hardly an impulse-buy. An aspir- Fredericksburg, VA ing immigrant, Dracula has taken the time to educate himself USA on subjects “all relating to England and English life and customs https://orcid.org/0000-0003-1896-4767 and manners” (44). He plans to assimilate into a new society: “I long to go through the crowded streets of your mighty London, to be in the midst of the whirl and rush of humanity, to share its life, its change, its death, and all that makes it what it is” (45). Dracula’s emphasis on the roar of London conveys his desire to abandon the Carpathian Mountains in favor of the modern metropolis. Transylvania will have the reverse efect on Harker: having left the industrial West, he nearly goes mad from his cap- tivity in the East.