Firefly Shiny Dice Rules
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Legendary Encounters Rules – Firefly
® ™ A Deck Building Game “You got a job, we can do it. Don’t much and wound the players. If you take damage care what it is.” – Captain Malcolm Reynolds equal to or greater than your health, then you’re defeated. Don’t worry though – another Game Summary player can heal you back into the game. But if Welcome to Legendary ® Encounters: everyone gets defeated at the same time, then A Firefly™ Deck Building Game. In this fully you lose. cooperative game for 1-5 players, you’ll take Some enemies attack Serenity herself. If she on the role of Mal, Zoe or one of the other takes too many hits, then it’s all over. crew members. Your First Game You start with a deck of basic cards and For your first game, follow the setup rules on a special Talent card. At the start of your Page 3, using the specific card stacks listed turn, take a card from the Episode deck and there. This will allow you to play the Pilot place it face-down onto the board. It could Episode “Serenity” and “The Train Job.” be an outlaw thug, an alliance ship, or even (Note: The Pilot episode is split into two a reaver raiding party. You’ll play cards separate Episode Decks.) from your hand to generate Attack, Recruit After your first game, you can play through Points, and special abilities. You’ll use all 14 Episodes of the series or mix and match Attack to defeat enemies and to scan hidden Episodes to play them in a different order. -
Kaylee Frye, an Incomplete Role Model
Casey Canfield Disciplinary Deliverable 12/16/09 Kaylee Frye, an Incomplete Role Model It’s easy to turn on the TV and find shows about how fun and exciting it is to be a doctor, lawyer, or FBI agent – but what about being an engineer? Where’s the glamour and excitement in that? You could try some of the reality shows on the Discovery and Science channels and watch Doing DaVinci, Building it Bigger, or Heavy Metal Task Force. Or maybe you watch American Chopper or Restorer Guy on TLC. The problem is that all of these shows are for and about men and describe men’s relationship with creating and caring for technology. As a female engineer, I find my invisibility in the media problematic. But that is why I got so excited about Joss Whedon’s Firefly, which depicted a woman named Kaylee Frye as the ship’s engineer. In the real world, some women have difficulty balancing their desires to be feminine and their desire to be taken seriously as an engineer. Since engineers are coded as masculine, feminine-presenting women are automatically taken less seriously as engineers. While this tension was reflected in Kaylee’s character, there were missing elements in her back story that made her feel less real. Where and how did she learn so much about engines? What was her childhood like? Was becoming an engineer her life’s ambition? Granted, she’s a relatively minor character and the series ended incomplete, but the issues that were left unresolved reflect the issues that women in engineering engage with every day. -
Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2012 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected] Published version. "Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work," in Joss Whedon: The Complete Companion: The TV Series, The Movies, The Comic Books and More. Ed. PopMatters Media. London: Titan Books, 2012: 285-297. Publisher Link. © 2012 Titan Books. Used with permission. FIREFLY 3.10 3.10 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan For all the standard horror movie monsters Joss Whedon took up in Buffy and Angel-vampires, of course, but also ghosts, demons, werewolves, witches, Frankenstein's monster, the Devil, mummies, haunted puppets, the Creature from the Black Lagoon, the "bad boyfriend," and so on-you'd think there would have been more zombies. In twelve years of television across both series zombies appear in only a handful of episodes. They attack almost as an afterthought at Buffy's drama-laden homecoming party early in Buffy Season 3 ("Dead Man's Party" 3.2); they completely ruin Xander's evening in "The Zeppo" (3.13) later that same season; they patrol Angel's Los Angeles neighborhood in "The Thin Dead Line" (2.14) in Angel Season 2; they stalk the halls of Wolfram & Hart in "Habeas Corpses" (4.8) in Angel Season 4. A single zombie comes back from the dead to work things out with the girlfriend who poisoned him in a subplot in "Provider" (3.12) in Angel Season 3; Adam uses science to reanimate dead bodies to make his lab assistants near the end of Buffy Season 4 ("Primeval" 4.21); zombies guard a fail-safe device in the basement of Wolfram & Hart in "You're Welcome" (3.12) in Angel Season 5. -
I Really Need to Know I Learned from Firefly
This combination of situations has made him a scoundrel trying to ignore his “heart of gold”, his mercenary inten- tions competing with the better instincts and morals of his past. With the scoundrel captain is the proverbial motley tm crew: Wash, the easy-going, wise-cracking pilot; Jayne, the anything-for-a-buck mercenary; Kaylee, the eternally- optimistic ship's engineer, and Zoe, Malcolm's first mate and comrade from the war. (At first blush, it's almost like you could see their character sheets off to the side.) By James Laird Davenport Also along for the ride is 'Inara', a member of an exclu- sive Guild of Companions. or those poor unfortunates who missed its brief She's more than a classy prostitute; she's a romantic- life on television, Firefly was one of the best gam- interest for the hardened Malcolm. Criminals when nec- F ing series ever produced. While it wasn't about essary, the crew seeks 'to keep fuel in the tanks and food gamers per se, it was quite easy to envision that we were on the table'. watching the adventures of a gaming group, in this case At the beginning of the series, they pick up in a space opera campaign. The show had an engaging three passengers who become de facto members of the ensemble of characters, great stories, and a unique vision crew: Simon, the doctor; River, Simon's mentally-addled, of the future. What more could you ask from a gaming fugitive sister; and Shepherd Book, the preacher looking campaign? to experience life outside the monastery. -
ENGL 3750 WSU Fall 12 22571 ( → Syllabus ENGL 3750 WSU Fall 12 22571 Change Home Page Layout | See Course Stream
ENGL 3750 WSU Fall 12 22571 (https://weber.instructure.com/courses/115913) → Syllabus ENGL 3750 WSU Fall 12 22571 Change Home Page Layout | See Course Stream Jump to Today ENGL 3750: Television as Literature (or, Advanced Studies in Firefly) v. 1.0 MWF 12:30 - 1:20 Dr. Scott Rogers | EH 448 | [email protected] (mailto:[email protected]) | http://faculty.weber.edu/srogers (http://faculty.weber.edu/srogers) Office Hours TBA | 801-626-7502 The Course: The average American watches about 5 hours of television a day. We are told that this is bad. We are told that television is bad for us, that it is bad for our families, and that it is wasting our time. But not all television is that way. Some television shows have what we might call “literary pretensions.” Shows such as Twin Peaks, Homicide: Life on the Street, The Wire, The Sopranos, Deadwood, Buffy the Vampire Slayer, Veronica Mars, Battlestar Galactica, and LOST have been both critically acclaimed and the subject of much academic study. In this course, we will focus our attention on one such television series: Firefly. Like his earlier series, Buffy the Vampire Slayer, Joss Whedon’s critically acclaimed series Firefly has enjoyed tremendous interest—from casual viewers, devoted fans, and from academics who find the series worthy of critical academic attention. In this course, we will examine Firefly not only as fans, but with rigorous, critical, academic attention. We will approach each episode of Firefly, and the film Serenity, in an active and critical fashion, paying attention to the standard literary devices (e.g. -
Greg Thain Center for High Throughput Computing
HTCondor Advanced Job Submission John (TJ) Knoeller Center for High Throughput Computing Overview › Development of an advanced submit file › Using as many techniques and tricks as possible. 2 The Problem › I have a lot of media files that I have collected over the years. › I want to convert them all to .mp4 (Sounds like a high-throughput problem…) 3 Basic submit file for conversion Executable = ffmpeg Transfer_executable = false Should_transfer_files = YES file = S1E2 The Train Job.wmv Transfer_input_files = $(file) Args = "-i '$(file)' '$(file).mp4'" Queue 4 Converting a set of files Transfer_input_files = $(file) Args = "-i '$(file)' '$(file).mp4' " Queue FILE from ( S1E1 Serenity.wmv S1E2 The Train Job.wmv S1E3 Bushwhacked.wmv S1E4 Shindig.wmv … ) 5 Output filename problems › Output is $(file).mp4. So output files are named S1E1 Serenity.wmv.mp4 S1E2 The Train Job.wmv.mp4 S1E3 Bushwhacked.wmv.mp4 S1E4 Shindig.wmv.mp4 6 $F() to the rescue › $Fqpdnx() expands to parts of a filename file = "./Video/Firefly/S1E4 Shindig.wmv" $Fp(file) -> ./Video/Firefly/ $Fqp(file) -> "./Video/Firefly" $Fd(file) -> Firefly/ $Fn(file) -> S1E4 Shindig $Fx(file) -> .wmv $Fnx(file) -> S1E4 Shindig.wmv 7 $Fn() is name without extension Transfer_Input_Files = $(file) Args = "-i '$Fnx(file)' '$Fn(file).mp4'" Resulting files are now S1E1 Serenity.mp4 S1E2 The Train Job.mp4 S1E3 Bushwhacked.mp4 S1E4 Shindig.mp4 8 $Fq() and Arguments › $Fq(file) expands to quoted "filename" hGives "parse error" with Arguments statement › For Args use '$F(file)' instead. hBecomes 'filename' on LINUX hBecomes "filename" on Windows 9 "new" Args preserves spaces FILE = The Train Job.wmv Args = "-i '$Fnx(file)' -w640 '$Fn(file).mp4' " # Tool Tip* see it before you submit it. -
Greg Thain Center for High Throughput Computing
HTCondor Advanced Job Submission John (TJ) Knoeller Center for High Throughput Computing Overview › Development of an advanced submit file › Using as many techniques and tricks as possible. 2 The Problem › I have a lot of media files that I have collected over the years. › I want to convert them all to .mp4 (Sounds like a high-throughput problem…) 3 Basic submit file for conversion Executable = ffmpeg Transfer_executable = false Should_transfer_files = YES file = S1E2 The Train Job.wmv Transfer_input_files = $(file) Args = "-i '$(file)' '$(file).mp4'" Queue 4 Converting a set of files Transfer_input_files = $(file) Args = "-i '$(file)' '$(file).mp4' " Queue FILE from ( S1E1 Serenity.wmv S1E2 The Train Job.wmv S1E3 Bushwhacked.wmv S1E4 Shindig.wmv … ) 5 Output filename problems › Output is $(file).mp4. So output files are named S1E1 Serenity.wmv.mp4 S1E2 The Train Job.wmv.mp4 S1E3 Bushwhacked.wmv.mp4 S1E4 Shindig.wmv.mp4 6 $F() to the rescue › $Fqpdnx() expands to parts of a filename file = "./Video/Firefly/S1E4 Shindig.wmv" $Fp(file) -> ./Video/Firefly/ $Fqp(file) -> "./Video/Firefly" $Fd(file) -> Firefly/ $Fn(file) -> S1E4 Shindig $Fx(file) -> .wmv $Fnx(file) -> S1E4 Shindig.wmv 7 $Fn() is name without extension Transfer_Input_Files = $(file) Args = "-i '$Fnx(file)' '$Fn(file).mp4'" Resulting files are now S1E1 Serenity.mp4 S1E2 The Train Job.mp4 S1E3 Bushwhacked.mp4 S1E4 Shindig.mp4 8 $Fq() and Arguments › $Fq(file) expands to quoted "filename" Gives "parse error" with Arguments statement › For Args use '$F(file)' instead. Becomes 'filename' on LINUX Becomes "filename" on Windows 9 "new" Args preserves spaces FILE = The Train Job.wmv Args = "-i '$Fnx(file)' -w640 '$Fn(file).mp4' " # Tool Tip* see it before you submit it. -
Fan Campaigns of Firefly and Veronica Mars
I give permission for public access to my thesis and for any copying to be done at the discretion of the archives librarian and/or the College librarian. Simone D. Becque May 18, 2007 Big Damn Fans: Fan Campaigns of Firefly and Veronica Mars Simone Becque Thesis 2007 Department of Sociology and Anthropology Advisor: Eleanor Townsley Table of Contents Acknowledgements i Table of Figures ii Table of Appendices ii Chapter One: You Can’t Take the Sky from Me 1 Studio 60: Criteria for Fan Campaign Development 3 Television Programming 6 Technologies and Fan Practices 8 What about Other Campaigns? The Selection of Case Studies and Methods 13 TV As the Final Frontier: The Importance of Alternative Production Space 14 Chapter Two: Still Flying, the Fan Campaigns for Firefly 17 Welcome to the ‘Verse 17 Production 19 This is Joss, Space is Black and Scary: the Whedon Timeline 22 Fan Campaign Efforts 27 Language of the ‘Verse: “Your ‘Verse Your Words” 33 They Were Glemphy: the Narrative of Fox 36 The Neighborhood Pub: the Social Element of Fan Campaigns 37 Still Flying? 38 Chapter Three: Veronica Mars, a Fan a Day Keeps Cancellation at Bay 40 Veronica Mars 41 Friends in High Places: the Role of Mainstream Media 43 Actors/Creators and the Fan Importance Narrative 46 The Documentation of Fan Efforts 54 Conclusion You Can’t Stop the Signal 68 My Barack Obama [dot] com: Fan Campaigns and Politics 68 Locating the Power in Television Programming 71 Still Flying: the Release of the Fan Importance Narrative 73 Tables 75 Appendices 78 Bibliography 92 i Acknowledgments This project would not have been possible without several groups of people helping and supporting me along the way. -
Analyzing Whedon's Firefly As Impetus
ANALYZING WHEDON’S FIREFLY AS IMPETUS FOR A DEVELOPMENT STRATEGY FOR AN ALTERNATE HISTORY, SCI-FI TELEVISION SERIES _______________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science in Communication ______________________________________ by Andrew C. Essig April 2016 Table of Contents Thesis Introduction………………………………………………………………………………. 1 Firefly’s Legacy………………………………………………………………………………….. 8 Introduction………………………………………………………………………………. 8 Universe and World-Building…………………………………………………………... 15 Character………………………………………………………………………………... 19 Plot…………………………………………………………………………………….... 27 Conclusion…………………………………………………………………………….... 31 Science Fiction as Genre………………………………………………………………………... 36 Introduction……………………………………………………………………………... 36 Society in Conflict……………………………………………………………………… 44 Expansive Travel……………………………………………………………………….. 48 Alienation………………………………………………………………………………. 53 Conclusion……………………………………………………………………………… 59 The Alternate History Twist……………………………………………………………………. 64 Introduction……………………………………………………………………………... 64 Alternate History in Narrative………………………………………………………….. 74 Conclusion…………………………………………………………………………….... 83 Sub Culture……………………………………………………………………………………... 87 Introduction……………………………………………………………………………... 87 Script……………………………………………………………………………………. 93 Conclusion………………………………………………………………………….…. 153 Bibliography………………………………………………………………………………...… -
•Ÿcome a Day There Won╎t Be Room for Naughty Men Like Us To
Law Text Culture Volume 16 Justice Framed: Law in Comics and Graphic Novels Article 12 2012 ‘Come a Day there Won’t be Room for Naughty Men Like Us to Slip About at All’: the multi-media outlaws of Serenity and the possibilities of post-literate justice Kieran Tranter Griffith University Follow this and additional works at: https://ro.uow.edu.au/ltc Recommended Citation Tranter, Kieran, ‘Come a Day there Won’t be Room for Naughty Men Like Us to Slip About at All’: the multi-media outlaws of Serenity and the possibilities of post-literate justice, Law Text Culture, 16, 2012, 277-304. Available at:https://ro.uow.edu.au/ltc/vol16/iss1/12 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] ‘Come a Day there Won’t be Room for Naughty Men Like Us to Slip About at All’: the multi-media outlaws of Serenity and the possibilities of post-literate justice Abstract If legal theory has only recently become aware of the pain and problems of law’s textual medium what is to be made of a culture where information exchange through reading and writing becomes displaced by the visual and physical acts of icon manipulation? How is justice to be achieved in a coming post-literate age of quasi-hieroglyphics; that is the emerging media of graphic user interfaces on touchscreens? In a ‘software-sorted society’ (Murakami Wood and Graham 2006) can there be something external to the code that can be justice? Further, can this justice be more than just a refugee of earlier legalities, but be a true measure of the emerging techno-totality? Notwithstanding the remaining challenges of poverty, violence, gender and rights bequeathed by the past to contemporary legal thought, it is at this nexus of medium, justice and power being birthed by the leap to digitality that ‘the future’ confronts legal thinking. -
Thiessen 1 “No More Running”: Firefly, the Western, and the Genre Of
Thiessen 1 “No More Running”: Firefly, the Western, and the Genre of Serenity According to the show’s creators, Firefly’s characters exist “in a whole new universe that did not fall into any kind of science fiction cliché.” Of the many diverse sources of inspiration for Firefly and the movie Serenity, the most obvious are Western films, which have become increasingly scarce in the last forty-some years. Though it’s set in a futuristic spacescape more familiar in science fiction, the characters and themes of the show draw so heavily from outlaw tales of the American frontier that Firefly can rightly be called a Western set in space. When I watched Serenity for the first time, though, something jarred, and I hoped it wasn’t just what Joss had done to Wash. After a suitable time of grieving, I realised that there is a generic shift between the themes and techniques of Firefly and the resolution of Serenity. Whereas Firefly is a Western set in space, Serenity is more easily classified as a science fiction film with cowboys. It’s difficult and dangerous to generalise about any show created by Joss Whedon, but the differences between Firefly and Serenity are evident when we consider, for example, their approaches to civilisation. The occupants of Serenity (the ship) occupy an ambiguous moral space between nomads and bandits, adhering (except maybe for Jayne) to a flexible but essential moral code. This is not unusual in Westerns, especially Western romances, in which the hero embodies a higher order of morality and justice, even if he’s condemned or excluded by the majority. -
Wilderness As a Space of Becoming in Tolkien's the Children of Húrin and Whedon's Firefly and Serenity
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Valparaiso University Journal of Tolkien Research Volume 10 Issue 1 J.R.R. Tolkien and the works of Joss Article 6 Whedon 2020 Peril and Possibility: Wilderness as a Space of Becoming in Tolkien's The Children of Húrin and Whedon's Firefly and Serenity Philip J. Vogel [email protected] Kenton L. Sena [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Arts and Humanities Commons Recommended Citation Vogel, Philip J. and Sena, Kenton L. (2020) "Peril and Possibility: Wilderness as a Space of Becoming in Tolkien's The Children of Húrin and Whedon's Firefly and Serenity," Journal of Tolkien Research: Vol. 10 : Iss. 1 , Article 6. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss1/6 This Peer-Reviewed Article is brought to you for free and open access by the Christopher Center Library at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Vogel and Sena: Peril and Possibility: Wilderness in Tolkien and Whedon PERIL AND POSSIBILITY: WILDERNESS AS A SPACE OF BECOMING IN TOLKIEN’S THE CHILDREN OF HÚRIN AND WHEDON’S FIREFLY AND SERENITY INTRODUCTION Wilderness has long preoccupied the Western mind, and for just as long, competing views on the nature of wilderness have vied for predominance. While they have ebbed and flowed through time, George Stankey proposes that these competing views have promoted an ambivalent attitude towards wilderness: “Throughout history, the conception of wilderness as the locus of evil has been countered, if not offset, by the conception of wilderness as sanctuary” (24).