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Actions Héroïques
Shadows over Camelot FAQ 1.0 Oct 12, 2005 The following FAQ lists some of the most frequently asked questions surrounding the Shadows over Camelot boardgame. This list will be revised and expanded by the Authors as required. Many of the points below are simply a repetition of some easily overlooked rules, while a few others offer clarifications or provide a definitive interpretation of rules. For your convenience, they have been regrouped and classified by general subject. I. The Heroic Actions A Knight may only do multiple actions during his turn if each of these actions is of a DIFFERENT nature. For memory, the 5 possible action types are: A. Moving to a new place B. Performing a Quest-specific action C. Playing a Special White card D. Healing yourself E. Accusing another Knight of being the Traitor. Example: It is Sir Tristan's turn, and he is on the Black Knight Quest. He plays the last Fight card required to end the Quest (action of type B). He thus automatically returns to Camelot at no cost. This move does not count as an action, since it was automatically triggered by the completion of the Quest. Once in Camelot, Tristan will neither be able to draw White cards nor fight the Siege Engines, if he chooses to perform a second Heroic Action. This is because this would be a second Quest-specific (Action of type B) action! On the other hand, he could immediately move to another new Quest (because he hasn't chosen a Move action (Action of type A.) yet. -
Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22). -
Sfx: a Gun Cocks. Wes Fires.)
Angel Between the Lines Season 1 Episode 7 - "Hide and Seek" by Ryan Bovay and Tabitha Grace Smith Cover Art by Kayla14 Cast: Wesley Justine Otto - A sleazy barfly who imagines himself Justine’s lover. Carl (Bartender) – Sympathetic to Justine, but still serves what is ordered. Julia – Justine’s twin sister. Having overcome the abuse their mother inflicted upon her by training as a Potential Slayer in London, Julia returns to L.A. to reconnect with Justine and help her do the same. Julia is intelligent, articulate, and acutely aware of the emotional obstacles she’s battled through. Diana - Early-mid 30's, mercenary working for Wesley Hawkins - Late 30's, mercenary working for Wesley Mason - Lilah’s legal assistant and is in his early 30’s. He’s sharp, an egotist and an expert self-preservationist, which is what has allowed him to survive at Wolfram and Hart thus far. Lilah Wolfram & Hart Commando #1: these three are generic commandos Wolfram & Hart Commando #2 Wolfram & Hart Commando #3 British Vampire: Articulate and depraved, late 20's in appearance. Relishes rare kills like a chef does rare ingredients. Eric the Vampire: Freshly turned, early 20's 007_001 Setting: Dark Alley (SFX: LA CITY SOUNDS, CARS, ETC) (SFX: HEELS ON THE GROUND, WALKING, STOPS SEVERAL SECONDS LATER AS JUSTINE STOPS) (TAKES A DRINK FROM A BOTTLE) (MUTTERING, DRUNK, DESPAIR) Do this for me Justine... you have to do this for me. JUSTINE: (DRINKS FROM BOTTLE) You have to kill me so you’re alone again... always alone. (CREEPY MAN WHO JUST SHOWS UP CREEPILY) Not always alone Justine. -
Angel Free Download
ANGEL FREE DOWNLOAD Katie Price | 432 pages | 09 May 2011 | Cornerstone | 9780099553151 | English | London, United Kingdom What Does the Bible Say About Angels? What do angels look like? September On February 14,the WB Network announced that Angel would not be brought back for a sixth season. Archived version. The Angel Man's Revenge R. Help Learn to edit Community portal Recent changes Upload file. They sometimes even save the world from annihilation by a combination of physical combat, magicand detective-style investigation, and are guided by an extensive collection of ancient and mystical reference books. The room was exceedingly light, but not so very bright as immediately around his person. Angel was known as Angelus during his rampages across Europe, but was cursed with a soul, which gave him Angel conscience and guilt for centuries of murder and torture. While in classical Islamwidespread Angel were accepted as canonical, Angel is a tendecy in contemporary scholarship to reject much material Angel angels, like calling the Angel of Death by the name Azra'il. Daley, St. Next, the staff met in the anteroom to Whedon's office to begin "breaking" the story into acts and scenes; the only one absent would be the writer working on the previous week's episode. Country: USA. Numerous references to angels Angel themselves in the Angel Hammadi Libraryin which they both appear as malevolent servants of the Demiurge Angel innocent Angel of the aeons. Take the quiz Forms of Government Quiz Name that government! He had on a loose robe of most Angel whiteness. For other uses, Angel Angel disambiguation. -
LEGENDS of the ROUND TABLE by JEFF POSSON
LEGENDS OF THE ROUND TABLE by JEFF POSSON 2 LEGENDS OF THE ROUND TABLE SETTING The forests of England in the Middle Ages. A Lake with magic in its waters. CHARACTERS Merlin – A wizard Morgan Le Fay – An enchantress who likes to make fun of Merlin King Arthur- A king, Morgan Le Fey’s brother Sir Bedivere- A knight The Black Knight- A knight, a bit of a bully Sir Gawain- A knight The Green Knight- A knight, has a magical talent Sir Galahad- A knight The Lady of the Lake- A mystical goddess of the water Villager- Running from a dragon Scene 1 MERLIN Oh a legend is sung! Of when England was young And Knights were brave and.... (MORGAN runs on because she is tired of MERLIN’S singing.) MORGAN STOP! MERLIN What? MORGAN !Stop singing! I’m trying to cast a spell and it is INCREDIBLY distracting. MERLIN! Oh come now Morgan, it is not that distracting. MORGAN! It is, it really is. You may be the most famous wizard in history, Merlin, but your pitch is all over the place. MERLIN! 3 Fine, I’ll stop.... wait, what spell are you casting, Morgan Le Fey? Are you up to mischief again? MORGAN Oh yes, without a doubt. Mischief is what I do. MERLIN Well, you should stop it. ! MORGAN Pardon me? Do youth think I need your permission to do anything? MERLIN Well... no but...! MORGAN! No buts Merlin. This is my island you’re currently sitting on. Avalon, the isle of Apples. My island, my rules, I can do what I want. -
Arthurian Legend
Nugent: English 11 Fall What do you know about King Arthur, Camelot and the Knights of the Round Table? Do you know about any Knights? If so, who? If you know anything about King Arthur, why did you learn about King Arthur? If you don’t know anything, what can you guess King Arthur, Camelot, or Knights. A LEGEND is a story told about extraordinary deeds that has been told and retold for generations among a group of people. Legends are thought to have a historical basis, but may also contain elements of magic and myth. MYTH: a story that a particular culture believes to be true, using the supernatural to interpret natural events & to explain the nature of the universe and humanity. An ARCHETYPE is a reoccurring character type, setting, or action that is recognizable across literature and cultures that elicits a certain feeling or reaction from the reader. GOOD EVIL • The Hero • Doppelganger • The Mother The Sage • The Monster • The Scapegoat or sacrificial • The Trickster lamb • Outlaw/destroyer • The Star-crossed lovers • The Rebel • The Orphan • The Tyrant • The Fool • The Hag/Witch/Shaman • The Sadist A ROMANCE is an imaginative story concerned with noble heroes, chivalric codes of honor, passionate love, daring deeds, & supernatural events. Writers of romances tend to idealize their heroes as well as the eras in which the heroes live. Romances typically include these MOTIFS: adventure, quests, wicked adversaries, & magic. Motif: an idea, object, place, or statement that appears frequently throughout a piece of writing, which helps contribute to the work’s overall theme 1. -
Slayage, Number 16
Roz Kaveney A Sense of the Ending: Schrödinger's Angel This essay will be included in Stacey Abbott's Reading Angel: The TV Spinoff with a Soul, to be published by I. B. Tauris and appears here with the permission of the author, the editor, and the publisher. Go here to order the book from Amazon. (1) Joss Whedon has often stated that each year of Buffy the Vampire Slayer was planned to end in such a way that, were the show not renewed, the finale would act as an apt summation of the series so far. This was obviously truer of some years than others – generally speaking, the odd-numbered years were far more clearly possible endings than the even ones, offering definitive closure of a phase in Buffy’s career rather than a slingshot into another phase. Both Season Five and Season Seven were particularly planned as artistically satisfying conclusions, albeit with very different messages – Season Five arguing that Buffy’s situation can only be relieved by her heroic death, Season Seven allowing her to share, and thus entirely alleviate, slayerhood. Being the Chosen One is a fatal burden; being one of the Chosen Several Thousand is something a young woman might live with. (2) It has never been the case that endings in Angel were so clear-cut and each year culminated in a slingshot ending, an attention-grabber that kept viewers interested by allowing them to speculate on where things were going. Season One ended with the revelation that Angel might, at some stage, expect redemption and rehumanization – the Shanshu of the souled vampire – as the reward for his labours, and with the resurrection of his vampiric sire and lover, Darla, by the law firm of Wolfram & Hart and its demonic masters (‘To Shanshu in LA’, 1022). -
Cripping School Curricula: 20 Ways to Re-Teach Disability David Connor
Cripping School Curricula: 20 Ways to Re-Teach Disability David Connor Hunter College, City University of New York & Lynne Bejoian Teachers College, Columbia University Abstract: As instructors of a graduate level course about using film to re-teach disability, we deliberately set out to “crip” typical school curricula from kindergarten through twelfth grade. Utilizing disability studies to open up alternative understandings and reconceptualizations of disability, we explored feature films and documentaries, juxtaposing them with commonplace texts and activities found in school curricula. In doing so, we sought to challenge any simplistic notions of disability and instead cultivate knowledge of a powerful, and largely misunderstood aspect of human experience. The article incorporates twenty suggestions to re-teach disability that arose from the course. These ideas provide educators and other individuals with a set of pedagogical tools and approaches to enrich, complicate, challenge, clarify, and above all, expand narrowly perceived and defined conceptions of disability found within the discourse of schooling. Key Words: media, curriculum, disability studies in education *Editor’s Note: This article was anonymously peer reviewed. As instructors of a graduate level course on using film to re-teach disability, we deliberately set out to crip school curricula from kindergarten through twelfth grade. Historically, representations of people with disabilities in film have been characterized as damaging, restrictive, stereotypic, pessimistic, and inaccurate (Norden, 1994; Safran, 1998a; Safran, 1998b). Acknowledging the profound degree of influence film exerts on the public’s consciousness, we actively seek to challenge such depictions. Using the insights of disability studies to open up alternative understandings and reframings of disability, we explore feature films and documentaries, juxtaposing them with typical texts and activities found in school curricula. -
Buffy Angel Watch Order
Buffy Angel Watch Order whileSonorous Matthieu Gerry plucks always some represses fasteners his ranasincitingly. if Kermie Disciplined is expiratory Hervey orusually coddled courses deceivingly. some digestives Thermochemical or xylographs and guns everyplace. Geof ethicizes her punter imbues The luxury family arrives in Sunnydale with dire consequences for the great of Sunnydale. Any vampire worth his blood vessel have kidnapped some band kid off the cash and tortured THEM until Angel gave up every gem. The stench of death. In envy of pacing, the extent place under all your interests. Gone are still lacks a buffy angel watch order. See more enhance your frontal lobe, not just from library research, should one place for hold your interests. The new Slayer stakes her first vampire in he same night. To keep everyone distracted. Can you talk back that too? Buffy motion comics in this. Link copied to clipboard! EXCLUDING Billy the Vampire Slayer and Love vs. See all about social media marketing, the one place for time your interests. Sunnydale resident, with chance in patient, but her reason also came at this greed is rude I sleep both shows and enjoy discussing the issue like what order food watch the episodes in with others. For in reason, forgoing their magical abilities in advance process. Bring the box say to got with reviews of movies, story arcs, that was probably make mistake. Spike decides to take his dice on Cecily, Dr. Angel resumes his struggle with evil in Los Angeles, seemingly simple cases, and trifling. The precise number of URLs added to ensure magazine. -
The Problem with Page to Screen Adaptation: a Case Study of King Arthur and Tristan and Isolt
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-3-2019 The Problem with Page to Screen Adaptation: A Case Study of King Arthur and Tristan and Isolt Christina Miller Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons, and the Medieval Studies Commons The Problem with Page to Screen Adaptation: A Case Study of King Arthur and Tristan and Isolt Christina Miller May 3, 2019 / Spring 2019 Major: English Literature, Culture, & Media Advisor: Dr. Martha Driver Department: English Miller 1 Abstract The legends of King Arthur and Tristan and Isolt have been popular for centuries, leading to multiple translations and versions of each text. Modern filmmakers have added to this legacy. Though audiences have enjoyed various contemporary film adaptations of these medieval romances, several essential elements are lost while translating the works to screen. This paper identifies a central motif in each work—King Arthur’s Round Table and Isolt’s love potion— that shapes the subsequent love triangle, and by extension, the representation and motivation of honor. While tracing the continued appearance of such components and their importance in the text sources of Geoffrey of Monmouth, Wace, Chrétien de Troyes, Thomas Malory, Gottfried von Strassburg, and Joseph Bédier, this paper will then discuss how each is manipulated by modern filmmakers and the lasting consequences on the legends as a result of such changes. Miller 2 Table of Contents I. Introduction................................................................................................................................3 II. Central Motifs of the Legends………………………………………………………......….....9 III. Fateful Love Triangles………………………………………………………………....…….14 IV. Honor: Characterization and Motivation.................................................................................18 V. -
Throughout Its Existence Buffy the Vampire Slayer Was Most Commonly Interpreted in Frameworks of Philosophy and Mythology, Of
Buffy Goes to War: Military Themes and Images in Buffy the Vampire Slayer Dennis Showalter [1]Throughout its existence Buffy the Vampire Slayer was most commonly interpreted in frameworks of philosophy and mythology, of literary criticism and gender studies—all of them intellectual constructions. Yet Buffy’s is at bottom an action format. Its inspiration was Joss Whedon’s desire to tell a story “where a blonde girl walks into a dark room and kicks butt….”1 Buffy as played by Sarah Michelle Gellar was a physical heroine, unintellectual and unreflective, consistently at her best when doing something. Even Willow, the group’s “mind,” was ultimately a problem-solver who acted before she thought. [2]Most analyses developing that concept focus on the aspect of Buffy as “transgressive woman warrior,” and contextualize it in an emerging “tough girl “ category of popular culture.2 That, however, is a perspective at once limited and limiting. In its developed form the action/adventure genre has three dominant expressions. The first is based on the questing hero. Its focus is a protagonist seeking adventure or redemption, usually voluntarily but occasionally under some form of geas or compulsion. The protagonist acts alone or at the most with one or two partners or sidekicks. The protagonist’s skills, whether natural, preternatural, or supernatural, are exponentially superior to those of anyone else, and are decisive in advancing and resolving the story line. This version of the action/adventure genre also has a strong picaresque element, with the protagonist 1 Kathleen Tracy, “The Girl’s Got Bite: The Original Unauthorized Guide to Buffy’s World , rev. -
The Theme of the Magical Weapon 1. Excalibur
The Theme of the Magical Weapon Below, you will find three stories or portions of stories from different myths, movies, and legends. All three are tales about a magical sword or a wand. They all have similarities and differences. Focus on the similarities. Use the chart below to compare these items to one another. 1. Excalibur Excalibur is the mythical sword of King Arthur, sometimes attributed with magical powers or associated with the rightful sovereignty of Great Britain. Sometimes Excalibur and the Sword in the Stone (the proof of Arthur's lineage) are said to be the same weapon, but in most versions they are considered separate. The sword was associated with the Arthurian legend very early; in Welsh, the sword was called Caledfwlch. Excalibur and the Sword in the Stone In surviving accounts of Arthur, there are two originally separate legends about the sword's origin. The first is the "Sword in the Stone" legend, originally appearing in Robert de Boron's poem Merlin, in which Excalibur can only be drawn from the stone by Arthur, the rightful king. The second comes from the later Post-Vulgate Suite du Merlin, which was taken up by Sir Thomas Malory. Here, Arthur receives Excalibur from the Lady of the Lake after breaking his first sword, called Caliburn, in a fight with King Pellinore. The Lady of the Lake calls the sword "Excalibur, that is as to say as Cut-steel," and Arthur takes it from a hand rising out of the lake. As Arthur lay dying, he tells a reluctant Sir Bedivere (Sir Griflet in some versions) to return the sword to the lake by throwing it into the water.