The Beyond Heroes Roleplaying Game Book I: the Player's Guide
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Playtest: Wizard
Playtest: Wizard Illustrations by William O’Connor and Steve Ellis Why This Is the Class for You: You like to master the battlefield and control your enemies, while also having the tools to handle any situation you face. Some things no person is meant to know, some powers no mortal should ever wield, and some mysteries are best left buried in the lost manuscripts. Common wisdom advises all this, yet wizards have little use for such quaint warnings and plunge headlong into the occult without fear. For this reason, most people fear wizards, or if they don’t fear them, they at least steer clear of them—for who knows what magic they work in their laboratories or what terrible secrets they have unearthed? If wizards notice such an attitude, they pay it no heed or, perhaps, cultivate it to keep the uninitiated from peering too closely at the forces these magicians wield. A wizard, it has been said, is an arcane scion, a gifted individual trained in the mystical arts who accesses the power that permeates the cosmos and molds it into useful and often destructive forms. A wizard’s approach to magic is one of scholar- ship and accomplishment. To a wizard, there is no easy path to power; there is only research, discipline, and intellect. Those who circumvent the proper order, such as the dubious warlocks and their untamed cousins the sorcerers, pervert magi- cal energy—or, worse, are ruled by it. For this reason wizards guard their secrets well, teaching their lore only to those worthy candidates who have both the mental acuity and the strength of will to use it. -
Weapon Group Feats for Pathfinder: Class: Weapon Group Proficiencies
Weapon Group Feats for Pathfinder: Class: Weapon Group Proficiencies at 1st Level: Alchemist Basic weapons, Natural, Crossbows, any other 1 Barbarian Basic weapons, Natural, any other 4 Bard Basic weapons, Natural, any other 3 Cavalier Basic weapons, Natural, Spears, any other 3 Cleric Basic weapons, Natural, deity’s weapon group, any other 2(3 groups if not following a deity) Druid Basic weapons, Natural, druid weapons, any other 1 Fighter Basic weapons, Natural, any other 5 Gunslinger Basic weapons, Natural, firearms, any other 3 Monk Basic weapons, and all monk weapons Inquisitor Basic weapons, Natural, deity’s weapon group, Bows or Crossbows, any other 3 (4 groups if not following a deity) Magus Basic weapons, Natural, any other 4 Oracle Basic weapons, Natural, any other 1 (+3 if taking Skill at Arms) Paladin/AntiPaladin Basic weapons, Natural, any other 4 Ranger Basic weapons, Natural, any other 4 Rogue Basic weapons, Natural, any other 3 Sorcerer Basic weapons, Natural, spears, crossbows , any other 1 Summoner Basic weapons, Natural, spears, crossbows , any other 1 Witch Basic weapons, Natural, spears, crossbows , any other 1 Wizard Basic weapons, Natural, spears, crossbows This system doesn’t change Racial Weapon Familiarity. Weapon Group Name: Weapons In Group: Axes bardiche, battleaxe, dwarven waraxe, greataxe, handaxe, heavy pick, hooked axe, knuckle axe, light pick, mattock, orc double axe, pata, and throwing axe Basic club, dagger, quarterstaff, and sling Blades, Heavy bastard sword, chakram, double chicken saber, double -
Tsr6903.Mu7.Ghotmu.C
[ Official Game Accessory Gamer's Handbook of the Volume 7 Contents Arcanna ................................3 Puck .............. ....................69 Cable ........... .... ....................5 Quantum ...............................71 Calypso .................................7 Rage ..................................73 Crimson and the Raven . ..................9 Red Wolf ...............................75 Crossbones ............................ 11 Rintrah .............. ..................77 Dane, Lorna ............. ...............13 Sefton, Amanda .........................79 Doctor Spectrum ........................15 Sersi ..................................81 Force ................................. 17 Set ................. ...................83 Gambit ................................21 Shadowmasters .... ... ..................85 Ghost Rider ............................23 Sif .................. ..................87 Great Lakes Avengers ....... .............25 Skinhead ...............................89 Guardians of the Galaxy . .................27 Solo ...................................91 Hodge, Cameron ........................33 Spider-Slayers .......... ................93 Kaluu ....... ............. ..............35 Stellaris ................................99 Kid Nova ................... ............37 Stygorr ...............................10 1 Knight and Fogg .........................39 Styx and Stone .........................10 3 Madame Web ...........................41 Sundragon ................... .........10 5 Marvel Boy .............................43 -
GUÍA De Creación De Personaje CTHULHU
Foundation for Archeological Research Guía para nuevos miembros Una guía no-oficial para crear investigadores para el juego de rol “La Llamada de Cthulhu” ” publicado en España por Edge Entertainment bajo licencia de Chaosium. Para ser utilizado principalmente en “Los Misterios de Bloomfield”-“The Bloomfield Mysteries”, una adaptación de “La Sombra de Saros”, campaña escrita por Xabier Ugalde, para su uso en las aulas de Primaria en las áreas de Ciencias Sociales, Lengua Castellana y Lengua Extranjera: Inglés Adaptado para Educación Primaria por: ÓscarRecio Coll [email protected] https://jueducacion.com/ El Copyright de las ilustraciones de La Llamada de Cthulhu y de La Sombra de Saros además de otras presentes en este material así como la propiedad intelectual/comercial/empresarial y derechos de las mismas son exclusiva de sus autores y/o de las compañías y editoriales que sean propietarias o hayan comprado los citados derechos sobre las obras y posean sobre ellas el derecho a que se las elimine de esta publicación de tal manera que sus derechos no queden vulnerados en ninguna forma o modo que pudiera contravenir su autoría para particulares y/o empresas que las hayan utilizado con fines comerciales y/o empresariales. Esta compilación no tiene ningún uso comercial ni ánimo de lucro y está destinada exclusivamente a su utilización dentro del ámbito escolar y su finalidad es completamente didáctica como material de desarrollo y apoyo para la dinamización de contenidos en las diferentes áreas que componen la Educación Primaria. Bienvenidos/as a la F.A.R. (Fundación de Investigaciones Arqueológicas), en este sencillo manual encontrarás las instrucciones para ser parte de nuestra fundación y completar tu registro como miembro. -
Stab Resistant Body Armour
IAN HORSFALL STAB RESISTANT BODY ARMOUR COLLEGE OF DEFENCE TECHNOLOGY SUBMITTED FOR THE AWARD OF PhD CRANFIELD UNIVERSITY ENGINEERING SYSTEMS DEPARTMENT SUBMITTED FOR THE AWARD OF PhD 1999-2000 IAN HORSFALL STAB RESISTANT BODY ARMOUR SUPERVISOR DR M. R. EDWARDS MARCH 2000 ©Cranfield University, 2000. All rights reserved. No part of this publication may be reproduced without the written permission of the copyright holder. ABSTRACT There is now a widely accepted need for stab resistant body armour for the police in the UK. However, very little research has been done on knife resistant systems and the penetration mechanics of sharp projectiles are poorly understood. This thesis explores the general background to knife attack and defence with a particular emphasis on the penetration mechanics of edged weapons. The energy and velocity that can be achieved in stabbing actions has been determined for a number of sample populations. The energy dissipated against the target was shown to be primarily the combined kinetic energy of the knife and the arm of the attacker. The compliance between the hand and the knife was shown to significantly affect the pattern of energy delivery. Flexibility and the resulting compliance of the armour was shown to have a significant effect upon the absorption of this kinetic energy. The ability of a knife to penetrate a variety of targets was studied using an instrumented drop tower. It was found that the penetration process consisted of three stages, indentation, perforation and further penetration as the knife slides through the target. Analysis of the indentation process shows that for slimmer indenters, as represented by knives, frictional forces dominate, and indentation depth becomes dependent upon the coefficient of friction between indenter and sample. -
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.). -
Representations of Pleasure and Worship in Sankei Mandara Talia J
Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). -
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. -
Noh Theater and Religion in Medieval Japan
Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure. -
Drow of the Underdark
™ 95726720_Ch00.indd 1 2/22/07 3:03:16 PM Shadowborn Warrior . .52 Clothing . .98 Spider Companion . .52 Tools . .101 Contents Spiderfriend Magic . .52 Artifacts . .103 Introduction . 4 Staggering Critical . .52 Surprising Riposte . .52 Chapter 5: Chapter 1: Umbral Spell . .52 Monsters of the Underdark . 105 All About the Drow . 7 Vermin Trainer . .53 Adamantine Spider . 106 A Day in the Life . .7 Verminfriend . .53 Chwidencha . 108 Society and Culture . .9 Versatile Combatant . .53 Draegloth . .110 Law, Tradition, and Government . .10 Ambush Feats . .53 Dragon, Deep . .114 Drow Psychology . .13 Gloom Strike . .54 Elf, Albino Drow (Szarkai) . .118 Religion . .15 Sickening Strike . .54 Goblinoid . 120 Rites and Rituals of Lolth . .15 Terrifying Strike . .54 Husk Vermin . 126 CONTENTS TABLE OF Servants of Lolth . .17 Venomous Strike . .54 Kuo-Toa . 129 Lolth . .19 Divine Feats . .54 Lizard, Giant . .133 Houses of the Drow . .20 Divine Intercession . .54 Quaggoth . 136 Structure and Composition . .20 Lolth’s Boon . .54 Shunned . .140 House Authority . .21 Lolth’s Caress . .54 Spider, Monstrous . .141 House Interaction . .21 Profane Agony . .54 Troll . .145 Duties and Benefi ts . .22 Vile Feats . .55 Venom Ooze . .148 Family Units . .24 Unspeakable Vow . .55 Drow Life . .26 Vow of Decadence . .55 Chapter 6: Leisure . .27 Vow of the Spider Queen . .55 Campaigns and Adventures . 150 Arts and Crafts . .27 Vow of Vengeance . .56 Drow Campaigns . 150 Technology and Magic. .28 Weapon Style Feats . .56 Drow Cities and Environs . 153 Love . 29 Despana School . .56 Sample Drow . 160 War . 30 Eilservs School . .56 Anybys Velifane . 160 Death . .31 Inlindl School . .56 Keveras Lorakythe . -
Dictionnaire Des Épées Célèbres
Dictionnaire des épées célèbres Laurent BONNOT, V3d 2016 'épée est un symbole de pouvoir, auquel on confère souvent une âme et donne un Lnom. e livret vous permettra peut-être de compléter vos savoirs sur l'histoire de célèbres épées (pas toujours) légendaires, telles que les indestructibles Durandal ou Excalibur, et de faire connaissance avec d'autres lames moins connues telles que Courtain, Flamberge ou l'imprononçable mais réelle Szczerbiec. vertissement: deux erreurs (enfin … au moins deux) se sont glissées parmi Aces définitions. Un grand merci à Caroline pour sa relecture et ses corrections éclairées. Publié sur http://bonnot.laurent.free.fr Un commentaire ? Une suggestion ? [email protected] ‹‹ Dictionnaire des épées célèbres – édition 3d déc. 2016 © LB - page 1 / 33 Le catalogue du râ telier 1ère partie : épées de légendes historiques............................................................................4 Le nom de certaines épées est suivi d'un code de trois caractères placé entre crochets: [ART] pour les épées citées dans le mythe arthurien [CEL] pour les épées citées dans la mythologie celtique [HIS] pour les épées ayant réellement existé [MAS] pour les épées citées dans la mythologie anglo-saxonne [MGE] pour la mythologie germanique [MNO] pour la mythologie nordique [ROL] pour les épées citées dans la chanson de Roland Al-Adb, Al-Battar, Al-Ma'thur, Al-Mikhdham, Al-Rasub, Al-Qadib [HIS].................................--)------- 4 Almace [ROL]...............................................................................................................................--)------- -
The Weird and Monstrous Names of HP Lovecraft Christopher L Robinson HEC-Paris, France
names, Vol. 58 No. 3, September, 2010, 127–38 Teratonymy: The Weird and Monstrous Names of HP Lovecraft Christopher L Robinson HEC-Paris, France Lovecraft’s teratonyms are monstrous inventions that estrange the sound patterns of English and obscure the kinds of meaning traditionally associ- ated with literary onomastics. J.R.R. Tolkien’s notion of linguistic style pro- vides a useful concept to examine how these names play upon a distance from and proximity to English, so as to give rise to specific historical and cultural connotations. Some imitate the sounds and forms of foreign nomen- clatures that hold “weird” connotations due to being linked in the popular imagination with kabbalism and decadent antiquity. Others introduce sounds-patterns that lie outside English phonetics or run contrary to the phonotactics of the language to result in anti-aesthetic constructions that are awkward to pronounce. In terms of sense, teratonyms invite comparison with the “esoteric” words discussed by Jean-Jacques Lecercle, as they dimi- nish or obscure semantic content, while augmenting affective values and heightening the reader’s awareness of the bodily production of speech. keywords literary onomastics, linguistic invention, HP Lovecraft, twentieth- century literature, American literature, weird fiction, horror fiction, teratology Text Cult author H.P. Lovecraft is best known as the creator of an original mythology often referred to as the “Cthulhu Mythos.” Named after his most popular creature, this mythos is elaborated throughout Lovecraft’s poetry and fiction with the help of three “devices.” The first is an outlandish array of monsters of extraterrestrial origin, such as Cthulhu itself, described as “vaguely anthropoid [in] outline, but with an octopus-like head whose face was a mass of feelers, a scaly, rubbery-looking body, prodigious claws on hind and fore feet, and long, narrow wings behind” (1963: 134).