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Outdoor& Collection
MAGNUM COLLECTION 2020 NEW OUTDOOR& COLLECTION SPRING | SUMMER 2020 early years. The CNC-milled handle picks up the shapes of the Magnum Collection 1995, while being clearly recognizable as a tactical knife, featuring Pohl‘s signature slit screws and deep finger choils. Dietmar Pohl skillfully combines old and new elements, sharing his individual shapes and lines with the collector. proudly displayed in showcases around the For the first time, we are using a solid world, offering a wide range of designs, spearpoint blade made from 5 mm thick quality materials and perfect craftsmanship. D2 in the Magnum Collection series, giving the knife the practical properties you can For the anniversary, we are very pleased that expect from a true utility knife. The knife we were able to partner once again with has a long ricasso, a pronounced fuller and Dietmar Pohl. It had been a long time since a ridged thumb rest. The combination of MAGNUM COLLECTION 2020 we had worked together. The passionate stonewash and satin finish makes the blade The Magnum Collection 2020 is special in designer and specialist for tactical knives scratch-resistant and improves its corrosion- many ways. We presented our first Magnum has designed more than 60 knives, among resistance as well. The solid full-tang build catalogue in 1990, followed three years later them the impressive Rambo Knife featured gives the Magnum Collection 2020 balance by the first model of the successful Magnum in the latest movie of the action franchise and stability, making it a reliable tool for any Collection series. This high-quality collector‘s with Sylvester Stallone. -
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.). -
How Uniform Was the Old Norse Religion?
II. Old Norse Myth and Society HOW UNIFORM WAS THE OLD NORSE RELIGION? Stefan Brink ne often gets the impression from handbooks on Old Norse culture and religion that the pagan religion that was supposed to have been in Oexistence all over pre-Christian Scandinavia and Iceland was rather homogeneous. Due to the lack of written sources, it becomes difficult to say whether the ‘religion’ — or rather mythology, eschatology, and cult practice, which medieval sources refer to as forn siðr (‘ancient custom’) — changed over time. For obvious reasons, it is very difficult to identify a ‘pure’ Old Norse religion, uncorroded by Christianity since Scandinavia did not exist in a cultural vacuum.1 What we read in the handbooks is based almost entirely on Snorri Sturluson’s representation and interpretation in his Edda of the pre-Christian religion of Iceland, together with the ambiguous mythical and eschatological world we find represented in the Poetic Edda and in the filtered form Saxo Grammaticus presents in his Gesta Danorum. This stance is more or less presented without reflection in early scholarship, but the bias of the foundation is more readily acknowledged in more recent works.2 In the textual sources we find a considerable pantheon of gods and goddesses — Þórr, Óðinn, Freyr, Baldr, Loki, Njo3rðr, Týr, Heimdallr, Ullr, Bragi, Freyja, Frigg, Gefjon, Iðunn, et cetera — and euhemerized stories of how the gods acted and were characterized as individuals and as a collective. Since the sources are Old Icelandic (Saxo’s work appears to have been built on the same sources) one might assume that this religious world was purely Old 1 See the discussion in Gro Steinsland, Norrøn religion: Myter, riter, samfunn (Oslo: Pax, 2005). -
Gram (Mythology)
Gram (mythology) Gram (mythology)'s wiki: In Norse mythology, Gram ( Old Norse Gramr , meaning Wrath) is the sword that Sigurd used to kill the dragon Fafnir. [2] It is primarily used by the Volsungs in the Volsunga Saga . However, it is also seen in other legends Description. Nowhere in the Volsunga Saga is a clear description of Gram given, but there is enough scattered throughout the story to draw a picture of the sword. Sigurd's weapons, Gram included, are described as being âœall decked with gold and gleaming bright." Gram (disambiguation) â” Gram is a unit of measurement of mass. Otherwise, gram may refer to: gram, the Greek based suffix meaning drawing or representation. Contents 1 Places 2 People ⦠Wikipedia. Norse mythology in popular culture â” The Norse mythology, preserved in such ancient Icelandic texts as the Poetic Edda, the Prose Edda, and other lays and sagas, was little known outside Scandinavia until the 19th century. With the widespread publication of Norse myths and legends⦠⦠Wikipedia. Gram (mythology). Quite the same Wikipedia. Just better. In Norse mythology, Gram, (Old Norse Gramr, meaning Wrath)[1] is the sword that Sigurd used to kill the dragon Fafnir.[2]. Description. Gram was forged by Volund; Sigmund received it in the hall of the Völsung after pulling it out of the tree Barnstokkr where Odin placed it. The sword was destroyed in battle when Sigmund struck the spear of an enemy dressed in a black hooded cloak. In Norse mythology, Gram [1] is the sword that Sigurd used to kill the dragon Fafnir.[2] It is primarily used by the Volsungs in the Volsunga Saga. -
Semi-Historical Arms and Armor the Following Are Some Notes About The
Semi-Historical Arms and Armor The following are some notes about the weapons and armor tables in D&D 5th edition, as they pertain to their relationship to modern understandings of historical arms and armor. In general, 5th edition is far more accurate to ancient and medieval sources regarding these topics than prior editions, but for the sake of balance and ease of play without the onerous restrictions of reality, there are still some expected incongruences. This article attempts to explain some particular facets about the use of arms and armor throughout our long, shared history, and to offer some suggestions (imbalanced as they may be) on how such items would have been used in particular times and places. A note on generalities: One of the best things 5th edition offers in these tables is the generalization of particular weapons and armor compared to prior editions. Is there a significant, functional difference between a half-sword, arming sword, backsword, wakizashi, tulwar, or any other various forms of predominately one-handed pokey and slashy things with 13 inch, sometimes 14 or 20 or even 30 inch blades? Well, actually yes, but that level of discrimination is often not noticeable in the granularity of the combat mechanics of most systems, and, more importantly, how modern readers often distinguish them is often anachronistic. For instance, almost all straight sword-like weapons, be it arming swords, half-swords, back swords, longswords or even great swords like claymores (but not Messers!) are referred to in ancient and medieval texts (MS I.33, Liberi, etc) as… swords. -
Old Norse Mythology and the Ring of the Nibelung
Declaration in lieu of oath: I, Erik Schjeide born on: July 27, 1954 in: Santa Monica, California declare, that I produced this Master Thesis by myself and did not use any sources and resources other than the ones stated and that I did not have any other illegal help, that this Master Thesis has not been presented for examination at any other national or international institution in any shape or form, and that, if this Master Thesis has anything to do with my current employer, I have informed them and asked their permission. Arcata, California, June 15, 2008, Old Norse Mythology and The Ring of the Nibelung Master Thesis zur Erlangung des akademischen Grades “Master of Fine Arts (MFA) New Media” Universitätslehrgang “Master of Fine Arts in New Media” eingereicht am Department für Interaktive Medien und Bildungstechnologien Donau-Universität Krems von Erik Schjeide Krems, July 2008 Betreuer/Betreuerin: Carolyn Guertin Table of Contents I. Abstract 1 II. Introduction 3 III. Wagner’s sources 7 IV. Wagner’s background and The Ring 17 V. Das Rheingold: Mythological beginnings 25 VI. Die Walküre: Odin’s intervention in worldly affairs 34 VII. Siegfried: The hero’s journey 43 VIII. Götterdämmerung: Twilight of the gods 53 IX. Conclusion 65 X. Sources 67 Appendix I: The Psychic Life Cycle as described by Edward Edinger 68 Appendix II: Noteworthy Old Norse mythical deities 69 Appendix III: Noteworthy names in The Volsung Saga 70 Appendix IV: Summary of The Thidrek Saga 72 Old Norse Mythology and The Ring of the Nibelung I. Abstract As an MFA student in New Media, I am creating stop-motion animated short films. -
Gylfaginning Codex Regius, F
Snorri Sturluson Edda Prologue and Gylfaginning Codex Regius, f. 7v (reduced) (see pp. 26/34–28/1) Snorri Sturluson Edda Prologue and Gylfaginning Edited by ANTHONY FAULKES SECOND EDITION VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 2005 © Anthony Faulkes 1982/2005 Second Edition 2005 First published by Oxford University Press in 1982 Reissued by Viking Society for Northern Research 1988, 2000 Reprinted 2011 ISBN 978 0 903521 64 2 Printed by Short Run Press Limited, Exeter Contents Codex Regius, fol. 7v ..........................................................Frontispiece Abbreviated references ....................................................................... vii Introduction ..........................................................................................xi Synopsis ..........................................................................................xi The author ..................................................................................... xii The title ....................................................................................... xvii The contents of Snorri’s Edda ................................................... xviii Models and sources ........................................................................ xx Manuscripts .............................................................................. xxviii Bibliography ...............................................................................xxxi Text ....................................................................................................... -
Bangor University DOCTOR of PHILOSOPHY Image and Reality In
Bangor University DOCTOR OF PHILOSOPHY Image and Reality in Medieval Weaponry and Warfare: Wales c.1100 – c.1450 Colcough, Samantha Award date: 2015 Awarding institution: Bangor University Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 BANGOR UNIVERSITY SCHOOL OF HISTORY, WELSH HISTORY AND ARCHAEOLOGY Note: Some of the images in this digital version of the thesis have been removed due to Copyright restrictions Image and Reality in Medieval Weaponry and Warfare: Wales c.1100 – c.1450 Samantha Jane Colclough Note: Some of the images in this digital version of the thesis have been removed due to Copyright restrictions [i] Summary The established image of the art of war in medieval Wales is based on the analysis of historical documents, the majority of which have been written by foreign hands, most notably those associated with the English court. -
Panel 4 a Viking Legend
A Viking Legend: The Power of Love By Ainsley Bloomer Background, Contents & Introduction Appendix and Genealogical Chart First and Last Pages of Annotated Index, Sources Page The Ramsund carving in Södermanland, Sweden, dated to the 11th-century CE. A diagram of the carvings, created by anonymous, published 22 February 2021. (https://www.ancient.eu/image/13465/the-ramsund-runestone/) (https://www.ancient.eu/image/13465/the-ramsund-runestone/) 1. Sigurd sitting naked in front of the fire preparing the heart of the dragon Fafnir for his foster-father Regin, who is Fafnir’s brother. When Sigurd touches it, he burns himself and sticks his finger into his mouth. As he has tasted dragon blood, he starts to understand the birds’ song. 2. The birds saying that Regin will try to kill Sigurd, which causes Sigurd to cut off Regin’s head. 3. Regin lying dead beside his own head, his smithing tools with which he reforged Sigurd’s sword Gram scattered around him. 4. Sigurd’s horse Grani laden with the dragon’s treasure. 5. Sigurd’s previous killing of Fafnir. 6. Regin’s and Fafnir’s brother Ótr 1 5 Sigurd Portal Door (www.pitt.edu/~dash/sigurddoor.html) 1. Gunnar in the snake pit playing 2 the harp with his toes 2. Sigurd killing Regin 3. Sigurd’s horse Grani holding the 6 chest of treasures, also shows the birds that spoke to Sigurd. 4. Sigurd roasting the dragon heart, searing his finger and putting it in his mouth to heal when juices from the dragon heart permit him to understand the speech of the birds 3 4 Sigurd 7 5. -
Medieval Beliefs in Arthur's Atlantic Voyages
3 MEDIEVAL BELIEFS IN ARTHUR’S ATLANTIC VOYAGES ARTHUR’S DEATH OVERSEAS IN GEOFFREY’S HISTORY Geoffrey’s Reconcilation of Two Traditions The thesis set out in this book, that Arthur sailed west to a distant land in the sixth century, here identified as North America, is not a new one. It was present at the time that Geoffrey of Monmouth wrote his famous History of the Kings of Britain in c. 1138. Geoffrey drew on a wide range of material to write his book and would have been familiar with the entry in the Annales Cambriae that Arthur died at the battle of Camlann along with Mordred (Medraut) in 537/539. Camlann was thought to be located in Britain. In his pseudo-history, Geoffrey expands this data into a tale of adultery and betrayal. He presents Mordred as Arthur’s nephew, usurping the crown and having a sexual relationship with Guinevere (Gwenhwyfar), while Arthur was fighting in Europe. Hearing this news, Arthur returns to Britain and engages Mordred in a series of battles until Mordred flees to Cornwall. There at the River Camblam (Geoffrey’s location for Camlann) the final battle took place, where Mordred is killed. However at this point Geoffrey inexplicably departs from the basic data of the Annales Cambriae. Instead of Arthur dying at Camlann, Geoffrey presents him as only being severely wounded and abruptly states that he was then carried off to the Isle of Avalon so that his wounds might be healed. No information or explanation concerning the Isle of Avalon is given. The key question of interest is why did not Geoffrey simply allow Arthur’s life to end at Camlann, as in the Annales Cambriae, dying a heroic death but winning the battle against the traitors and heathens opposed to him? The answer to this is that Geoffrey was aware of a different tradition that had Arthur dying at a distant place overseas. -
Bugbear Distinct from Other Goblinoids, Bugbear Name Their Offspring After Any Number of Things
INTRODUCTION For some Dungeon Masters, one of the trickiest parts of running a campaign is coming up with consistent character names, especially on the fly. Every dungeon master has been in that situation at one point or another; the players have a longer conversation with Village Guard #3 than you anticipated, get invested in them, and want to know their name. This book takes that issue and extends it to some of the less common Dungeons and Dragons races which have been released through officially published material. Why Use This Book? Name generators found online are an invaluable tool for dungeon masters, but finding the right one can be very hit and miss. This book strives to have names which are consistently themed, flavorful, and able to be pronounced at a glance. Using This Book This book has two main table types to roll on: Percentile and Double-Sixty. Percentile tables contain 100 names all ready to go. Simply roll a percentile die or a pair of d10s and go to that point in the table to get your name. Double-Sixty tables have 120 entries divided into two 6x10 blocks. Each entry is one half of the name with the top block going first and the bottom block going second. Roll a d6 to determine the column and a d10 to find the row for the first half, then repeat for the second half. Finally, combine the two halves to get your name. Thank You! To everyone who bought this book, told their friends, or shared it with someone, your support is encouraging me to make bigger and better projects! Thank you! ~J.L. -
The Sword in the Tree Free
FREE THE SWORD IN THE TREE PDF Clyde Robert Bulla | 103 pages | 23 Dec 2000 | HarperCollins Publishers Inc | 9780064421324 | English | New York, NY, United States The Sword in the Tree by Clyde Robert Bulla He must not be allowed to reach out his hand The Sword in the Tree take also from the tree of life and eat, and live forever. God sends Adam and Eve out of the Garden and places Cherubim with a Flaming Sword that The Sword in the Tree back The Sword in the Tree forth to guard the way to the tree of life. I will show you the special way that the Cherubim and the Flaming Sword leads us back to Jesus. Many times the Word of God declares that people are trees. Here are a few examples below. Daniel to King Nebuchadnezzar Daniel — 22 The tree you saw, which grew large and strong, with its top touching the sky, visible to the whole earth, with beautiful leaves and abundant fruit, providing food for all, giving shelter to the beasts The Sword in the Tree the field, and having nesting places in its branches for the birds of the air, you, O king, are that tree! Isaiah …that they might be called trees of righteousnessthe planting of the Lord, that he might be glorified. You will know them by their fruits… A good tree cannot bear bad fruit, and a bad tree cannot bear good fruit. John but whoever drinks the water I Jesus give them will never thirst. Indeed, the water I give them will become in them a spring of water welling up to eternal life.