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Illusionists: Illusionists Are a Special Class of Magic Light
WARLOCK Rules for the Universe of 1999-2000 Credits Original Rules Robert Cowan; Basic Combat System Dave Clark; Basic Magic System Kenneth M. Dahl; Basic Clerical System Mike Lowry and Pat Shea; Thievish Rules Nick Smith; Other Systems and Rules Previous Version Bart Hibbs Current Version Mike Riley; Editor who actually do things in the world of your referee, but the Introduction players control them. We suggest you have only a small Several years ago, the first copies of a new game called number of player characters per player. In our games we Dungeons and Dragons appeared on the market. Fantasy allow any player to involve any 2 of his characters in any fans and gamers in general were enthralled at the one adventure or expedition. Whether these player possibilities. Most of them became hooked on the game, due characters are Fighters or Elves, Clerics or Dwarves, to its unusual and imaginative nature. You could actually do remember that in their own world, they are people, and treat unusual things: slay dragons, rescue the downtrodden, and them accordingly. just grab loot. Characteristics: There are eight things that are When our group first started playing the game, our determined for each character at his or her creation: overall reaction was that it had great ideas, "but“but maybe Strength, Intelligence, Wisdom, Constitution, Dexterity, we should change the combat system, clarify the Magic, and Agility, Charisma, and Size. These are called redo the monsters".monsters”. Warlock is not intended to ‘characteristics’. See the rules on ‘Creating Player replace D&D, and, indeed would not exist without that Characters’ for more. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
Oriental Adventures James Wyatt
620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K. -
Spirits, Monsters, Ghosts, Oh My!: Texts to Understand the Supernatural Japan
Spirits, Monsters, Ghosts, Oh My!: Texts to Understand the Supernatural Japan Possible Partnerships: Department of East Asian Languages & Literature, University of Pittsburgh Department of Religious Studies, The Japan-America Society of Pennsylvania Grades: 7-12 Resources: Resources are cited below in MLA format Proposal: This proposal/lesson part of the NCTA Integrative Initiative works a little differently than all the other ones. All of the other proposals dealt with rather concrete aspects of culture or learning that can be quantified or experienced in real-time. Whether it be reading literature, learning about kendo, or taking part in learning and making art as an educator, most of the ideas that have heretofore been mentioned are mostly tactile to an extent. Not so with this proposal. The subject matter presented here deals far more with understanding, explaining, and comprehending the importance of certain cultural ideas. Japan’s sense of the religious, spiritual, and supernatural can be different from the way Westerners understand these concepts. As such, the Japanese views, history, and traditions related to these concepts are not as well known as other aspects of Japanese history and culture such as samurai, noh and kabuki, and anime. In this regard, an educator who is teaching or discussing Japan with their students should do their best to give their students the resources and experiences necessary to fully integrate these ideas into the overall picture of Japan they may develop during their time in the classroom. As such, the teacher can use textual resources to supplement any textbook material they may be using in their classrooms, or for the sake of teaching a unique lesson altogether. -
ADVANCED DUNGEONS & DRAGONS® the Complete Ninja's
ADVANCED DUNGEONS & DRAGONS® 2nd Edition Player's Handbook Rules Supplement The Complete Ninja's Handbook By Aaron Allston CREDITS Design: Aaron Allston Editing: Barbara G. Young Black and White Art: Jim Holloway Color Art: Clyde Caldwell, Fred Fields, Les Dorscheid Typography: Tracey Isler Production: Paul Hanchette Acknowledgements: Many elements of The Complete Ninja's Handbook were derived from parts of Oriental Adventures designed by David "Zeb" Cook. In particular, portions of the optional Advanced Martial Arts rules are drawn from Oriental Adventures. TSR, Inc. TSR Ltd. 201 Sheridan Springs Rd. 120 Church End, Lake Geneva Cherry Hinton WI 53147 Cambridge CB1 3LB USA United Kingdom ADVANCED DUNGEONS & DRAGONS, AD&D, DRAGON, and DUNGEON MASTER are registered trademarks owned by TSR, Inc. The TSR logo is a trademark owned by TSR, Inc. This book is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission of TSR, Inc. Random House and its affiliate companies have worldwide distribution rights in the book trade for English language products of TSR, Inc. Distributed to the book and hobby trade in the United Kingdom by TSR Ltd. Distributed to the toy and hobby trade by regional distributors. ©1995 TSR, Inc. All rights reserved. Printed in the U.S.A. Table of Contents Introduction Chapter 1: The Ninja Class Ninja and Rogue Ninja Experience Levels Ninja Class Requirements Alignment Weapons and Armor -
Illustration and the Visual Imagination in Modern Japanese Literature By
Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work. -
Herzog E Lovecraft Em Três Documentários1 Revista FAMECOS: Mídia, Cultura E Tecnologia, Vol
Revista FAMECOS: mídia, cultura e tecnologia ISSN: 14-15-0549 ISSN: 1980-3729 Pontifícia Universidade Católica do Rio Grande do Sul Mello, Jamer Guterres de; Reis Filho, Lúcio; Cánepa, Laura Loguercio Lições das trevas: Herzog e Lovecraft em três documentários1 Revista FAMECOS: mídia, cultura e tecnologia, vol. 25, núm. 2, ID28490, 2018, Maio-Agosto Pontifícia Universidade Católica do Rio Grande do Sul DOI: 10.15448/1980-3729.2018.2.28490 Disponível em: http://www.redalyc.org/articulo.oa?id=495557631009 Como citar este artigo Número completo Sistema de Informação Científica Redalyc Mais informações do artigo Rede de Revistas Científicas da América Latina e do Caribe, Espanha e Portugal Site da revista em redalyc.org Sem fins lucrativos acadêmica projeto, desenvolvido no âmbito da iniciativa acesso aberto Revista ISSN: 1415-0549 e-ISSN: 1980-3729 mídia, cultura e tecnologia DOI: http://dx.doi.org/10.15448/1980-3729.2018.2.28490 CINEMA Lições das trevas: Herzog e Lovecraft em três documentários1 Lessons of darkness: Herzog and Lovecraft in three documentaries Jamer Guterres de Mello Lúcio Reis Filho Laura Loguercio Cánepa Universidade Anhembi Morumbi Universidade Anhembi Morumbi Universidade Anhembi Morumbi <[email protected]> <[email protected]> <[email protected]> Como citar este artigo (How to cite this article): MELLO, Jamer Guterres de; REIS FILHO, Lúcio; CÁNEPA, Laura Loguercio. Lições das Trevas: Herzog e Lovecraft em três documentários. Revista Famecos, Porto Alegre, v. 25, n. 2, p. 1-20, maio, junho, julho e agosto -
2020 H.C.Andersen Award Nominee from Japan
Yoko Tomiyasu 2020 H.C.Andersen Award Nominee from Japan 1 CONTENTS Biographical information .............................................................3 Statement ................................................................................4 Translation.............................................................................. 11 Bibliography and Awards .......................................................... 18 Five Important Titles with English text Mayu to Oni (Mayu & Ogree) ...................................................... 28 Bon maneki (Invitation to the Summer Festival of Bon) ......................... 46 Chiisana Suzuna hime (Suzuna the Little Mountain Godness) ................ 67 Nanoko sensei ga yatte kita (Nanako the Magical Teacher) ................. 74 Mujina tanteiktoku (The Mujina Ditective Agency) ........................... 100 2 © Yoko Tomiyasu © Kodansha Yoko Tomiyasu Born in Tokyo in 1959, Tomiyasu grew up listening to many stories filled with monsters and wonders, told by her grandmother and great aunts, who were all lovers of storytelling and mischief. At university she stud- ied the literature of the Heian period (the ancient Japanese era lasting from the 8th to 12 centuries AD). She was deeply attracted to stories of ghosts and ogres in Genji Monogatari (The Tale of Genji), and fell more and more into the world of traditional folklore. She currently lives in Osaka with her husband and two sons. There was a long era of writing stories that I wanted to read for myself. The origin of my creativity is the desire to write about a wonderous world that children can walk into from their everyday life. I want to write about the strange and mysterious world that I have loved since I was a child. 3 STATEMENT Recommendation of Yoko Tomiyasu for the Hans Christian Andersen Award Akira Nogami editor/critic Yoko Tomiyasu is one of Japan’s most popular Pond).” One hundred copies were printed. It authors and has published more than 120 was 1977 and Tomiyasu was 18. -
Mononoke, Yōkai E Donna Problematiche E Aspetti Sociali Del Giappone
Corso di Laurea in Lingue e civiltà dell'Asia e dell'Africa Mediterranea [LM20-14] Tesi di Laurea MONONOKE, YŌKAI E DONNA PROBLEMATICHE E ASPETTI SOCIALI DEL GIAPPONE Relatore Ch. Prof.ssa Maria Roberta Novielli Correlatore Ch. Prof.ssa Paola Scrolavezza Laureando Valerio Pinos Matricola 859473 Anno Accademico 2016 / 2017 INDICE INDICE .............................................................................................................................. 1 INTRODUZIONE .......................................................................................................... 3 要旨 ....................................................................................................................................... 5 MONONOKE: UN ESPERIMENTO FRA MISTERO E REALTÀ ........ 7 GLI ASPETTI STORICI E L’AUTORE 11 LO STILE D’ANIMAZIONE 15 LE QUESTIONI SOCIALI DELLA DONNA IN MONONOKE 31 YŌKAI: DEMONI DEL FOLKLORE E METAFORE SOCIALI............ 38 ZASHIKI-WARASHI: BAMBINI FANTASMA E IL DESIDERIO DI RINASCITA 41 NOPPERA-BŌ: SPIRITI SENZA VOLTO E ASSENZA DI IDENTITÀ 52 BAKENEKO: QUANDO LA VENDETTA PRENDE FORMA 64 DA MONONOKE ALLA REALTÀ: LA DONNA FRA OGGETTO, IDENTITÀ E DISCRIMINAZIONE ................................................................... 78 ABORTO E EMANCIPAZIONE DEL CORPO 80 L’IDENTITÀ DELLA DONNA NELLA FAMIGLIA 90 DISPARITÀ SUL POSTO DI LAVORO 100 CONCLUSIONI .......................................................................................................... 111 INDICE DELLE FIGURE ..................................................................................... -
International Reinterpretations
International Reinterpretations 1 Remakes know no borders… 2 … naturally, this applies to anime and manga as well. 3 Shogun Warriors 4 Stock-footage series 5 Non-US stock-footage shows Super Riders with the Devil Hanuman and the 5 Riders 6 OEL manga 7 OEL manga 8 OEL manga 9 Holy cow, more OEL manga! 10 Crossovers 11 Ghost Rider? 12 The Lion King? 13 Godzilla 14 Guyver 15 Crying Freeman 16 Fist of the North Star 17 G-Saviour 18 Blood: the Last Vampire 19 Speed Racer 20 Imagi Studios 21 Ultraman 6 Brothers vs. the Monster Army (Thailand) The Adventure Begins (USA) Towards the Future (Australia) The Ultimate Hero (USA) Tiga manhwa 22 Dragonball 23 Wicked City 24 City Hunter 25 Initial D 26 Riki-Oh 27 Asian TV Dramas Honey and Clover Peach Girl (Taiwan) Prince of Tennis (Taiwan) (China) 28 Boys Over Flowers Marmalade Boy (Taiwan) (South Korea) Oldboy 29 Taekwon V 30 Super Batman and Mazinger V 31 Space Gundam? Astro Plan? 32 Journey to the West (Saiyuki) Alakazam the Great Gensomaden Saiyuki Monkey Typhoon Patalliro Saiyuki Starzinger Dragonball 33 More “Goku”s 34 The Water Margin (Suikoden) Giant Robo Outlaw Star Suikoden Demon Century Akaboshi 35 Romance of the Three Kingdoms (Sangokushi) Mitsuteru Yokoyama’s Sangokushi Kotetsu Sangokushi BB Senshi Sangokuden Koihime Musou Ikkitousen 36 World Masterpiece Theater (23 seasons since 1969) Moomin Heidi A Dog of Flanders 3000 Leagues in Search of Mother Anne of Green Gables Adventures of Tom Sawyer Swiss Family Robinson Little Women Little Lord Fauntleroy Peter -
EYE-CANDY-CATALOG-3.Pdf
EyeCandyCustomzus.com Hello. Eye Candy Pigments are mica pigments, which are powders which are typically used as an additive or colorant in applications such as Epoxy, Resin, Lacquer, Automotive Paints, Acrylics, Soap Molds, Art, and Cosmetics, just to name a few. Our pigments are NON-TOXIC, animal friendly, irritant, stain free, and most importantly gentle and Did You safe to your skin. The desire for pigments in these industries are limitless, as Eye Know... Candy pigments are proving to be the perfect solution for those Do-It-Yourselfers looking for a VERY cost effective way to customize their projects. At Eye Candy™ our vision is to create a better everyday experience for the many people who use our products. Our business idea supports this vision by offering The word ‘Mica’ originated the best possible service, selection, quality, and value.” in the Latin language and literally means ‘Crumb’. Eye Candy Pigments were originally being used within the automotive paint industry The mica rock is crushed as an additive for paint shops looking for alternative customization at an affordable and processed through price. This concept proved extremely successful and before long our growth and various stages until it takes popularity crossed over into the construction and craft industry markets. Whether the form of, well, little you’re a “DIY’er” or a business, an artist, woodworker, cosmetologist, soap maker, or crumbs. Just in case you automotive painter, we assure you that we have your best interests in mind when it were wondering! comes to our pigments and your projects. What’s the Use?.. -
Tải Truyện Tiếng Hát Nơi Biển Cả
Trang đọc truyện online truyenhayhoan.com Tiếng hát nơi biển cả Chương 74 : Chương 74 Chương 73 Có vẻ như không cần nói gì nhiều thì ai cũng biết tình hình chiến trận đang diễn biến ra sao. Với thanh Katana ngang nhiên, can đảm pha lẫn chút liều mình khi dám chĩa thẳng mũi nhọn về vị thần của đại dương và bão tố… À không. Đó không hẳn chỉ là vị thần của thiên nhiên, mà còn chính là vị thần tượng trưng cho sự phẫn nộ, đau đớn, hối hận về những tội lỗi mà Tsubaki đã trải qua trong ba năm dài dằng dặc. Đối mặt với thần, đồng nghĩa với việc Tsubaki phải đối mặt với chính mình của quá khứ… Đối măt với sự thật rằng mình không có quyền được nhận sự tha thứ, nhưng mình vẫn phải dành lấy chiến thắng, dành lấy niềm tin lẫn sự hy vọng. _ Tsubaki Minamiya… cận vệ của cháu gái ta đấy sao? Lâu rồi không gặp nhỉ, nhãi ranh! _ Đúng là một cuộc gặp gỡ chẳng ra làm sao, xin lỗi vì đã bỏ trốn trong khoảng thời gian lâu như thế. Ba năm trôi qua ngươi cũng biết cách trang điểm quá chứ nhỉ. Biến hình thành bộ dạng của ta chắc thú vị lắm ha! Susanoo… Tố Trản Ô Tôn Susanoo no Mikoto, hiện diện trước Tsubaki bằng chính bộ dạng, gương mặt của hắn. Nói một cách chính xác thì ngài sử dụng dung mạo Tsubaki của ba năm trước… thời kỳ hoàng kim của một Đệ Nhất Kiếm Vũ Sư khi còn khoác trên người chiếc áo độc nhất, minh chứng cho người đủ thực lực trở thành hộ vệ cho cháu gái thần biển.