DOCSLIB.ORG

The Koryu Buntai & the Seven Samurai

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

RONIN Skirmish Wargaming in the Age of the Samurai THE KORYU BUNTAI & THE SEVEN SAMURAI PAINTING THE KORYU BUNTAI INSPIRATION The Koryu Buntai box set gives you the perfect starter Although I didn’t have any illustrations for Koryu army to begin playing Ronin. This set is a particular Buntai the as such, I took inspiration for the colours favourite of mine. I think Steve Saleh has reached for their clothes from the film Seven Samurai. It is new heights with the subtle modelling of the samurai true that this is a black and white film but luckily for clothes, and they all have very characterful faces. me I was pointed to a place on the web that had Also the fact that they are not in armour, gives a great sketches of the clothes from the movie in colour and opportunity to go to town on those outfits and make these were invaluable as guidance on painting the every one an individual character. models. I spent a long time studying the designs and trying to figure out how best to represent each design Below. Koryu Buntai Initiate with katana on a tiny model! Where there was no illustration I referred to my collection of historical samurai books, all the while trying to keep my colour palate for them very much Japanese in style. UNDERCOATING It is worth going over any model carefully just to make sure there are no sprue, flash or mould lines, clean any off with a sharp scalpel and a fine file. Undercoating is essential as it provides a consistent surface on which to apply the next coats of paint, and it shows up the detail on a model much more clearly than shiny bare metal. For the undercoat I used Humbrol enamel matt black. I usually undercoat in oil based paint as I find they give better coverage on the bare metal. THE PAINT I used Army Painter War Paints to paint Koryu Buntai, mixing up colours to suit my style and preferences. The Mega Paint Set provides an adequate range of colours for almost all needs, but you will always need to mix colours to get the desired results, however I have tried to work out colour combinations to reduce mixing if possible. 1 PAINTING FLESH The figure painting follows my well known method of 1. AP-WP1122 - Fur Brown working from dark to light shaded up from a black 2. AP-WP1127 - Tanned Flesh mixed with undercoat. This three or more colour painting method AP-WP1121 - Desert Yellow uses successive tones of colour (shade, middle and light) which are added to the model in layers, working 3. plus AP-WP1102 - Matt White up from dark to light. This creates a bold three- 4. plus AP-WP1102 - Matt White dimensional effect of shadows and highlights, the layers of colour giving greater depth and subtlety to 5. plus a tiny bit of AP-WP1104 - Pure Red (for the model. For the facial detail and for the eyes I used the lips) an Insane Detail brush. For the rest of the model I used a Warpaints Detail brush. SOCKS, LEGGINGS & MOST SASHES THE SAME COLOURS Even though the models are all highly individual, there White were colours that were the same on all the models, 1. AP-WP1102 - Matt White mixed with which I have listed below in this preamble. I did most AP-WP1117 - Ash Grey and of these colours first and all together, to try and speed AP-WP1108 - Necrotic Flesh up the painting process a bit. 2. plus AP-WP1102 - Matt White EYES & FLESH 3. plus more AP-WP1102 - Matt White The flesh and eyes on all this Buntai are in the 4. pure AP-WP1102 - Matt White same colours. I wanted the Koryu Buntai to have a noticeably different skin tone from Europeans so planned my painting accordingly, the skin tone is MOST SANDALS slightly exaggerated but I think it needs to be so that it is noticeable, on such a tiny model on the tabletop. Mid-brown 1. AP-WP1123 - Leather Brown EYES 2. AP-WP1123 - Leather Brown mixed with AP- 1. Whites are AP-WP1102 - Matt White WP1125 - Skeleton Bone 2. The irises are pure 3. plus more AP-WP1125 - Skeleton Bone AP-WP1124 - Oak Brown 4. and lastly more AP-WP1125 - Skeleton Bone Below. Painting the flesh. 2 Above. Painting the flesh. I wanted the Koryu Buntai to have a noticeably different skin tone from Europeans so planned my painting accordingly, the skin tone is slightly exaggerated but I think it needs to be so that it is noticeable, on such a tiny model on the tabletop. MOST HAIR, SCABBARDS & Steel PATTERNS 1. AP-WP1131 - Gun Metal The black was done at the end after all the other non- 2. AP-WP1130 - Plate Mail Metal metallic colours. 3. AP-WP1129 - Shining Silver Black 4. AP-WP1136 - Dark Tone Ink 1. AP-WP1101 - Matt Black mixed with AP- WP1125 - Skeleton Bone WEAPON GUARDS & POMMELS Done after the steel. 2. plus AP-WP1125 - Skeleton Bone 3. plus more AP-WP1125 - Skeleton Bone Brass 4. and lastly more AP-WP1125 - Skeleton 1. AP-WP1133 - Weapon Bronze Bone 2. AP-WP1132 - Greedy Gold WEAPON BLADES, GUARDS & 3. AP-WP1132 - Greedy Gold mixed with Foundry PP044C - Burning Gold POMMELS Done after the black. 4. Foundry PP044C - Burning Gold 3 THE MODELS KIMONO PATTERN I will list all the colours (even those listed above) Which I took to be stylised arrows and flights in red. with each model, in case you are going to paint each On the white kimono, I first painted the arrow shafts Samurai individually, rather than batch paint the same in the base red. I then joined them up in a sort of colours over the whole set. zigzag pattern to represent arrow the flights. Then I highlighted the whole design. Lastly I added the small SAMURAI ONE black and green design elements over that. Senior student with Nodachi He is quite a simple Red model with his massive Nodachi sword. 1. AP-WP1105 - Dragon Red 2. plus AP-WP1102 - Matt White KIMONO 3. plus more AP-WP1102 - Matt White White 4. plus more AP-WP1102 - Matt White 1. AP-WP1102 - Matt White mixed With small patterns in black (as above) and green with AP-WP1117 - Ash Grey and (same as on Uwa-obi below) AP-WP1121 - Desert Yellow 2. plus AP-WP1102 - Matt White UWA-OBI (sash) 3. plus more AP- Green WP1102 - Matt 1. AP-WP1112 - Angel Green White 2. AP-WP1112 - Angel Green 4. pure AP-WP1102 - plus AP-WP1109 - Goblin Green Matt White 3. plus AP-WP1102 - Matt White 4. plus more AP-WP1102 - Matt White WARAJI (sandals), BELT CORD & SWORD GRIP Red 1. AP-WP1124 - Oak Brown plus AP-WP1105 - Dragon Red 2. AP-WP1105 - Dragon Red 3. AP-WP1104 - Pure Red 4. AP-WP1104 - Pure Red plus AP-WP1106 - Lava Orange BAGS Brown 1. AP-WP1123 - Leather Brown 2. AP-WP1123 - Leather Brown mixed with AP-WP1125 - Skeleton Bone 3. plus more AP-WP1125 - Skeleton Bone 4. and lastly more AP-WP1125 - Skeleton Bone Yellow 1. AP-WP1121 - Desert Yellow mixed with AP-WP1124 - Oak Brown 2. AP-WP1121 - Desert Yellow 3. plus AP-WP1107 - Daemonic Yellow and AP-WP1102 - Matt White 4. plus more AP-WP1102 - Matt White 4 WEAPON BLADE Steel 1. AP-WP1131 - Gun Metal 2. AP-WP1130 - Plate Mail Metal 3. AP-WP1129 - Shining Silver 4. AP-WP1136 - Dark Tone Ink WEAPON GUARD AND POMMEL Brass 1. AP-WP1133 - Weapon Bronze 2. AP-WP1132 - Greedy Gold 3. AP-WP1132 - Greedy Gold mixed with Foundry PP044C - Burning Gold 4. Foundry PP044C - Burning Gold 5 Red small circles 1. AP-WP1104 - Pure Red 2. AP-WP1104 - Pure Red plus AP-WP1102 - Matt White Tiny black dots 1. AP-WP1101 - Matt Black KOBAKAMA (tight trousers) 1. AP-WP1127 - Tanned Flesh plus AP-WP1104 - Pure Red plus AP-WP1102 - Matt White 2. plus AP-WP1102 - Matt White 3. plus more AP-WP1102 - Matt White 4. plus even more AP-WP1102 - Matt White KOBAKAMA PATTERN I started this pattern by marking a circle of dots to be the centre of the flower, and then I painted in all of the petals for that flower. When I had done one flower I marked out the next one, far away enough from the first so the petals didn’t overlap. I repeated this process till the trousers were full of flowers. Don’t worry if the petals are a bit wobbly, that just adds to the ascetic asymmetric Japanese look. Black flowers SAMURAI TWO 1. AP-WP1101 - Matt Black mixed Quite complex patterns on this samurai but worth the with AP-WP1125 - Skeleton Bone effort I think. 2. plus AP-WP1125 - Skeleton Bone SHITAGI (shirt) 1. AP-WP1102 - Matt White mixed with AP- WP1117 - Ash Grey and AP-AP-WP1121 - Desert Yellow 2. plus AP-WP1102 - Matt White 3. plus more AP-WP1102 - Matt White 4. pure AP-WP1102 - Matt White SHITAGI PATTERN I painted the shirt white first, and then I marked on where the small circles were going to be with a soft pencil, very lightly. Then I painted the small circles in using only the main colour and one highlight. Then I dotted in the very tiny dots in black. Green small circles 1. AP-WP1109 - Goblin Green 2. AP-WP1109 - Goblin Green plus AP-WP1102 - Matt White 6 SAYA (scabbard) 1. AP-WP1101 - Matt Black mixed with AP-WP1125 - Skeleton Bone 2. plus AP-WP1125 - Skeleton Bone 3. plus more AP-WP1125 - Skeleton Bone 4.
Recommended publications
  • 1423778527171.Pdf

    1423778527171.Pdf

    Bahamut - [email protected] Based on the “Touhou Project” series of games by Team Shanghai Alice / ZUN. http://www16.big.or.jp/~zun/ The Touhou Project and its related properties are ©Team Shanghai Alice / ZUN. The Team Shanghai Alice logo is ©Team Shanghai Alice / ZUN. Illustrations © their respective owners. Used without permission. Tale of Phantasmal Land text & gameplay ©2011 Bahamut. This document is provided “as is”. Your possession of this document, either in an altered or unaltered state signifies that you agree to absolve, excuse, or otherwise not hold responsible Team Shanghai Alice / ZUN and/or Bahamut, and/or any other individuals or entities whose works appear herein for any and/or all liabilities, damages, etc. associated with the possession of this document. This document is not associated with, or endorsed by Team Shanghai Alice / ZUN. This is a not-for-profit personal interest work, and is not intended, nor should it be construed, as a challenge to Team Shanghai Alice / ZUN’s ownership of its Touhou Project copyrights and other related properties. License to distribute this work is freely given provided that it remains in an unaltered state and is not used for any commercial purposes whatsoever. All Rights Reserved. Introduction Choosing a Race (Cont.’d) What Is This Game All About? . 1 Magician . .20 Too Long; Didn’t Read Version . 1 Moon Rabbit . .20 Here’s the Situation . 1 Oni . .21 But Wait! There’s More! . 1 Tengu . .21 Crow Tengu . .22 About This Game . 2 White Wolf Tengu . .22 About the Touhou Project . 2 Vampire . .23 About Role-Playing Games .
  • Shigisan Engi Shigisan Engi Overview

    Shigisan Engi Shigisan Engi Overview

    Shigisan engi Shigisan engi Overview I. The Shigisan engi or Legends of the Temple on Mount Shigi consists of three handscrolls. Scroll 1 is commonly called “The Flying Granary,” Scroll 2 “The Exorcism of the Engi Emperor,” and Scroll 3 “The Story of the Nun.” These scrolls are a pictorial presentation of three legends handed down among the common people. These legends appear under the title “Shinano no kuni no hijiri no koto” (The Sage of Shinano Province) in both the Uji sh¯ui monogatari (Tales from Uji) and the Umezawa version of the Kohon setsuwash¯u (Collection of Ancient Legends). Since these two versions of the legends are quite similar, one is assumed to be based on the other. The Kohon setsuwash¯u ver- sion is written largely in kana, the phonetic script, with few Chinese characters and is very close to the text of the Shigisan engi handscrolls. Thus, it seems likely that there is a deep connection between the Shigisan engi and the Kohon setsuwash¯u; one was probably the basis for the other. “The Flying Granary,” Scroll 1 of the Shigisan engi, lacks the textual portion, which has probably been lost. As that suggests, the Shigisan engi have not come down to us in their original form. The Shigisan Ch¯ogosonshiji Temple owns the Shigisan engi, and the lid of the box in which the scrolls were stored lists two other documents, the Taishigun no maki (Army of Prince Sh¯otoku-taishi) and notes to that scroll, in addition to the titles of the three scrolls.
  • Kokawadera Engi Kokawadera Engi Overview

    Kokawadera Engi Kokawadera Engi Overview

    Kokawadera engi Kokawadera engi Overview the Kokawadera engi emaki. We can assume its content from I. the kanbun account, the Kokawadera engi. The Kokawadera engi emaki (Illustrated Scroll of the II. Legends of the Kokawadera Temple) is a set of colored pic- tures on paper compiled into one scroll and consists of four The synopsis of the Engi is as follows. The Kokawadera text sections and five pictures. The beginning of the scroll Temple was founded in the first year of H¯oki. According to was burned in a fire, and the first pages of the remaining part the tradition of the elders, there was a hunter in this area, are badly scorched as well. Neither the authors nor the time named Otomo¯ no Kujiko. Devoting himself to hunting, Kujiko of production is known but it is considered to be a work of lived in the mountains and shot at game every night from a the early Kamakura period. The style of painting resembles platform he built in a valley. One night he saw a shining light, that of the Shigisan engi emaki. about the size of a large sedge hat. Frightened, Kujiko The Kokawadera Temple is an old temple in Wakayama stepped down from the platform and went near the light, but Prefecture, that, according to legend, a local hunter, Otomo¯ the light was gone. Yet when he went back to the platform, no Kujiko, built it in the first year of H¯oki (770). It is well the light began to shine again. This continued to happen for known as the fourth site of the Saikoku thirty-three temple three or four nights, so he cleaned the area, built a hut with pilgrimage circuit.
  • ISSN# 1203-9017 Summer 2011, Vol.16, No.2

    ISSN# 1203-9017 Summer 2011, Vol.16, No.2

    The Royal Visit of 1939 JCNM 2010.80.2.66 ISSN# 1203-9017 Summer 2011, Vol.16, No.2 The Royal Visit of 1939 by Bryan Akazawa 2 Building Community Partnerships by Beth Carter 3 A Visit to Mio Village and its Canada Immigration Museum by Stan Fukawa 4 World War II and Kika-nisei by Haruji (Harry) Mizuta 6 Two Unusual Artifacts! 11 From Kaslo to New Denver – A Road Trip by Carl Yokota 12 One Big Hapa Family by Christine Kondo 14 Jinzaburo Oikawa Descendents Survive Earthquake and Tsunami by Stan Fukawa 15 Growing Up on Salt Spring Island by Raymond Nakamura 16 “Just Add Shoyu” review by Margaret Lyons 20 Forever the Vancouver ASAHI Baseball Team! by Norifumi Kawahara 21 The Postwar M.A. Berry Growers Co-op by Stan Fukawa 22 Treasures from the Collections 24 CONTENTS ON THE COVER: The Royal Visit of 1939 by Bryan Akazawa he recent Canadian tour of William and Catherine, the Duke and Duchess of Cambridge, is a mirror image of the visit of Prince William’s great grandfather King George VI back in 1939. In both cases there was T a real concerted effort to strengthen ties between Canada and Britain, to increase and solidify bonds of trust and loyalty. During their visit, King George VI and his wife, Queen Elizabeth travelled 80 km by motorcade through the streets of Vancouver, including Powell Street. The Royal Couple was greeted by the proud and excited Japanese Canadian resi- dents. The community members were dressed in their finest clothing and elaborate kimono.
  • Beginning Japanese for Professionals: Book 3

    Beginning Japanese for Professionals: Book 3

    BEGINNING JAPANESE FOR PROFESSIONALS: BOOK 3 Emiko Konomi Beginning Japanese for Professionals: Book 3 Emiko Konomi Portland State University 2018 © 2018 Emiko Konomi This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License You are free to: • Share — copy and redistribute the material in any medium or format • Adapt — remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms: • Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • NonCommercial — You may not use the material for commercial purposes. Accessibility Statement PDXScholar supports the creation, use, and remixing of open educational resources (OER). Portland State University (PSU) Library acknowledges that many open educational resources are not created with accessibility in mind, which creates barriers to teaching and learning. PDXScholar is actively committed to increasing the accessibility and usability of the works we produce and/or host. We welcome feedback about accessibility issues our users encounter so that we can work to mitigate them. Please email us with your questions and comments at [email protected]. “Accessibility Statement” is a derivative of Accessibility Statement by BCcampus, and is licensed under CC BY 4.0. Accessibility of Beginning Japanese 3 A prior version of this document contained multiple accessibility issues. Beginning Japanese for Professionals: Book 3 now meets the criteria outlined below, which is a set of criteria adapted from BCCampus’ Checklist for Accessibility, licensed under CC BY 4.0.
  • Japanese Costume

    Japanese Costume

    JAPANESE COSTUME BY HELEN C. GUNSAULUS Assistant Curator of Japanese Ethnology FIELD MUSEUM OF NATURAL HISTORY CHICAGO 1923 Field Museum of Natural History DEPARTMENT OF ANTHROPOLOGY Chicago, 1923 Leaflet Number 12 Japanese Costume Though European influence is strongly marked in many of the costumes seen today in the larger sea- coast cities of Japan, there is fortunately little change to be noted in the dress of the people of the interior, even the old court costumes are worn at a few formal functions and ceremonies in the palace. From the careful scrutinizing of certain prints, particularly those known as surimono, a good idea may be gained of the appearance of all classes of people prior to the in- troduction of foreign civilization. A special selection of these prints (Series II), chosen with this idea in mind, may be viewed each year in Field Museum in Gunsaulus Hall (Room 30, Second Floor) from April 1st to July 1st at which time it is succeeded by another selection. Since surimono were cards of greeting exchanged by the more highly educated classes of Japan, many times the figures portrayed are those known through the history and literature of the country, and as such they show forth the costumes worn by historical char- acters whose lives date back several centuries. Scenes from daily life during the years between 1760 and 1860, that period just preceding the opening up of the coun- try when surimono had their vogue, also decorate these cards and thus depict the garments worn by the great middle class and the military ( samurai ) class, the ma- jority of whose descendents still cling to the national costume.
  • Types of Japanese Folktales

    Types of Japanese Folktales

    Types of Japanese Folktales By K e ig o Se k i CONTENTS Preface ............................................................................ 2 Bibliography ................................... ................................ 8 I. Origin of Animals. No. 1-30 .....................................15 II. A nim al Tales. No. 31-74............................................... 24 III. Man and A n im a l............................................................ 45 A. Escape from Ogre. No. 75-88 ....................... 43 B. Stupid Animals. No. 87-118 ........................... 4& C. Grateful Animals. No. 119-132 ..................... 63 IV. Supernatural Wifes and Husbands ............................. 69 A. Supernatural Husbands. No. 133-140 .............. 69 B. Supernatural Wifes. No. 141-150 .................. 74 V. Supernatural Birth. No. 151-165 ............................. 80 VI. Man and Waterspirit. No. 166-170 ......................... 87 VII. Magic Objects. No. 171-182 ......................................... 90 V III. Tales of Fate. No. 183-188 ............................... :.… 95 IX. Human Marriage. No. 189-200 ................................. 100 X. Acquisition of Riches. No. 201-209 ........................ 105 X I. Conflicts ............................................................................I l l A. Parent and Child. No. 210-223 ..................... I l l B. Brothers (or Sisters). No. 224-233 ..............11? C. Neighbors. No. 234-253 .....................................123 X II. The Clever Man. No. 254-262
  • Tradisi Pemakaian Geta Dalam Kehidupan Masyarakat Jepang Nihon Shakai No Seikatsu Ni Okeru Geta No Haki Kanshuu

    Tradisi Pemakaian Geta Dalam Kehidupan Masyarakat Jepang Nihon Shakai No Seikatsu Ni Okeru Geta No Haki Kanshuu

    TRADISI PEMAKAIAN GETA DALAM KEHIDUPAN MASYARAKAT JEPANG NIHON SHAKAI NO SEIKATSU NI OKERU GETA NO HAKI KANSHUU SKRIPSI Skripsi Ini Diajukan Kepada Panitia Ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan Untuk Melengkapi salah Satu Syarat Ujian Sarjana Dalam Bidang Ilmu Sastra Jepang Oleh: AYU PRANATA SARAGIH 120708064 DEPARTEMEN SASTRA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2016 i Universitas Sumatera Utara TRADISI PEMAKAIAN GETA DALAM KEHIDUPAN MASYARAKAT JEPANG NIHON SHAKAI NO SEIKATSU NI OKERU GETA NO HAKI KANSHUU SKRIPSI Skripsi Ini Diajukan Kepada Panitia Ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan Untuk Melengkapi salah Satu Syarat Ujian Sarjana Dalam Bidang Ilmu Sastra Jepang Oleh: AYU PRANATA SARAGIH 120708064 Pembimbing I Pembimbing II Dr. Diah Syafitri Handayani, M.Litt Prof. Hamzon Situmorang,M.S, Ph.D NIP:19721228 1999 03 2 001 NIP:19580704 1984 12 1 001 DEPARTEMEN SASTRA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2016 ii Universitas Sumatera Utara Disetujui Oleh, Fakultas Ilmu Budaya Universitas Sumatera Utara Medan Medan, September 2016 Departemen Sastra Jepang Ketua, Drs. Eman Kusdiyana, M.Hum NIP : 196009191988031001 iii Universitas Sumatera Utara KATA PENGANTAR Segala puji dan syukur penulis panjatkan kepada Tuhan Yesus Kristus, oleh karena kasih karunia-Nya yang melimpah, anugerah,dan berkat-Nya yang luar biasa akhirnya penulis dapat menyelesaikan skripsi ini. Penulis dapat menyelesaikan skripsi ini yang merupakan syarat untuk mencapai gelar sarjana di Fakultas Ilmu Budaya Universitas Sumatera Utara. Adapun skripsi ini berjudul “Tradisi Pemakaian Geta Dalam Kehidupan Masyarakat Jepang”. Skripsi ini penulis persembahkan kepada orang tua penulis, Ibu Sonti Hutauruk, mama terbaik dan terhebat yang dengan tulus ikhlas memberikan kasih sayang, doa, perhatian, nasihat, dukungan moral dan materil kepada penulis sehingga penulis dapat menyelesaikan studi di Sastra Jepang USU, khususnya menyelesaikan skripsi ini.
  • The Costume of Yamabushi "To Put on the Clothing of Yamabushi, Is to Put on the Personality of the Fudo Buddha" Something Always Practiced by the Shugenjas

    The Costume of Yamabushi "To Put on the Clothing of Yamabushi, Is to Put on the Personality of the Fudo Buddha" Something Always Practiced by the Shugenjas

    Doctrines Costumes and Tools symbolisme | www.shugendo.fr Page 4 of 12 7. Not to break good manners and to accept insults from the Elders. 8. On level ground, not to have futile conversations (concerning Dharma or women) 9. Not to touch on the frivolous subjects, not to amuse with laughing at useless words or grievances. 10. When in bed, to fall asleep while using the nenju and reciting mantra) 11. Respect and obey the Veterans, Directors and Masters of Discipline, and read sutras aloud (the yamabushi in mountain have as a practice to speak with full lungs and the texts must be understandable) 12. Respect the regulations of the Directors and the Veterans. 13. Not to allow useless discussions. If the discussion exceeds the limits for which it is intended, one cannot allow it. 14. On level ground not to fall asleep while largely yawning (In all Japan the yawn is very badly perceived; a popular belief even says that the heart could flee the body by the yawn). 15. Those which put without care their sandals of straw (Yatsume-waraji, sandals with 8 eyelets) or which leave them in disorder will be punished with exceptional drudgeries. (It is necessary to have to go with sandals to include/understand the importance which they can have for a shugenja, even if during modern time, the "chika tabi" in white fabric replaced the sandals of straw at many shugenja. Kûban inside Kannen cave on Nevertheless certain Masters as Dai Ajari Miyagi Tainen continue to carry them for their comfort and Tomogashima island during 21 days the adherence which they offer on the wet stones.
  • Dragon Magazine #179

    Dragon Magazine #179

    SPECIAL ATTRACTIONS Issue #179 Magic is Power Vol. XVI, No. 10 9 A treasure trove of magical items youve never seen before. March 1992 Picture This! Nigel Findley 10 Magical paintings that can save your lifeor take it away. Publisher James M. Ward Magic by Candlelight Gregg Chamberlain 16After you light one of these magical candles, be sure you stand way Editor back. Roger E. Moore Something Completely Different Bruce Humphrey 21 Liven up your treasure hoards with valuables that surprise as well as Fiction editor please. Barbara G. Young Seven Enlightening Lanterns Stephen Giles Associate editor 26 If you explore the dungeons of the Forgotten Realms, be sure to have Dale A. Donovan one of these devices in hand. Editorial assistant Wolfgang H. Baur Art director Larry W. Smith OTHER FEATURES Production staff Gaye OKeefe Angelika Lokotz Moonlight fiction by Heather Lynn Sarik Tracey Zamagne Mary Chudada 32 Pure, distilled moonlight, silvery and brightjust the target for two smart thieves. Subscriptions The Voyage of the Princess Ark Bruce A. Heard Janet L. Winters 41 A journey to a kingdom that has gone entirely to the dogs. U.S. advertising The MARVEL® Phile Dale A. Donovan and Steven E. Schend Roseann Schnering 47 Did you ever meet a super villain you wanted to laugh at rather than punch? U.K. correspondent The Role of Computers Hartley, Patricia, and Kirk Lesser and U.K. advertising Bronwen Livermore 57 A look through Eye of the Beholder II and a visit with some Merry Men. Wonders of the Land of Fate Jeff Grubb 66 The AD&D® AL-QADIM setting has flying carpets, efreeti bottles, and much, much more! Role-playing Reviews Lester W.
  • Shin Megami Tensei Persona: the Tabletop Roleplaying Game (Production Bible) V

    Shin Megami Tensei Persona: the Tabletop Roleplaying Game (Production Bible) V

    Shin Megami Tensei Persona: The Tabletop Roleplaying Game (Production Bible) v. 0.5 (Beta 1 Hotfix) Principal Author: Will Canady. Supplementary Authors: breadotop, Sebastian Sung, Chris Robichaux, Daina Changelog: - Known Issues: [UNDER CONSTRUCTION] Chapter # - Character Creation [PLEASE WEAR A HARD HAT] Table of Contents [Under Construction] Forward What Kind of Game is This? What is Shin Megami Tensei? What is Persona? What Can You Expect? Character Creation What IS Persona: the RPG? Character Creation Checklist The Basics Dice System Jargon Pathos Classes? The Attributes Attribute Generation Attributes in Detail Muscle Finesse Intellect Charm Magic Power Aegis Background Persona Mechanics and the Major Arcana 2 [UNDER CONSTRUCTION] Chapter # - Character Creation [PLEASE WEAR A HARD HAT] CHARACTER CREATION “Elizabeth! We have a new group of users. They must have intriguing stories to tell…” -Igor, to a new party. Creating a character in Persona may seem daunting at first, especially if this is your first tabletop role-playing game. The sheer complexity of the rules can turn off newcomers to the genre. The jargon may seem incomprehensible and downright inane. That sentiment is totally understandable – tabletop is not for everyone. While a game like Persona is innately complex and due to a complex system, every effort will be made to make sure that character creation is made as simple as possible, and easy enough for anyone to pick up. Why? To give the prospective players, both old and new, an ease of access to the system, without being threatened with jargon and vague bullshit. To begin, let’s outline what Persona: the RPG is.
  • Land of the Crane Glossary

    Land of the Crane Glossary

    Land of the Crane Glossary The following is a simple glossary of Tsurukoku terms. The words “samurai”, “ninja” and “shogun” are used as English loanwords and thus not included in this glossary. Purist’s note: although Japanese is used as the basis for the language in Land of the Crane, some liberties have been taken and some meanings stretched to fit the context of a fantasy land inspired by, but not identical to, the Japan of history, myth and legend. General Vocabulary Rōmaji Kanji English amatsukami 天つ神 gods of heaven bō 棒 staff bokken 木剣 wooden sword chūnin 中忍 mid-ranking ninja daikyū 大弓 great bow daimyō 大名 feudal lord daishō 大小 name for the katana and wakizashi as a pair daitō 大刀 long swords Darumadō 達磨道 Way of Daruma fude 筆 brush Rōmaji Kanji English gaki 餓鬼 hungry ghost genin 下忍 low-ranking ninja geta 下駄 wooden clogs gō 業 karma hakama 袴 pleated divided skirt han 藩 fief hankyū 半弓 small bow hanyō 半妖 offspring of humans and supernatural creatures hara-ate 腹当 light armor haramaki 腹巻 medium armor harinezumi 猬 porcupine, hedgehog; porcupine race inkan 印鑑 personal seal irezumi 入墨 tattoo jashin 邪神 evil gods jō 杖 short staff jōnin 上忍 high-ranking ninja kama 鎌 sickle kami 神 gods, spirits, supernatural beings kami 紙 paper katana 刀 sword ki 気 spiritual or cosmic energy kidō 鬼道 Way of the Demons kimono 着物 kimono kitsune 狐 fox; fox people koku 石 unit of dry volume (about 180 liters or 5.11 bushels) kote 籠手 wrist and forearm guard kuge 公家 aristocracy, aristocrat kunai 苦無 small double-edged knife kuni 圀 country; also used to refer to large geographical