DOCSLIB.ORG

The Beyond Heroes Roleplaying Game Book I: the Player's Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Beyond Heroes Roleplaying Game Book I: the Player's Guide 1 The Beyond Heroes Roleplaying Game Book XXIV: The Book of Artifacts Writing and Design: Marco Ferraro The Book of Artifacts Copyright © 2020 Marco Ferraro All Rights Reserved This is meant as an amateur free fan production. Absolutely no money is generated from it. Wizards of the Coast, Dungeons & Dragons, and their logos are trademarks of Wizards of the Coast LLC in the United States and other countries. © 2019 Wizards. All Rights Reserved. Beyond Heroes is not affiliated with, endorsed, sponsored, or specifically approved by Wizards of the Coast LLC. Contents Foreword 3 Buying Magical Items 3 Magic; rare or common? 4 Researching Magical Items 4 The Nature of Magical Fabrication 5 Scrolls and Potions 7 Creating other magical items 10 Recharging Magical Items 12 Destroying Magical Items 13 Artifacts and Relics 13 Magic Item Quick Roll Table 18 Arcane Artifact Quick Roll Table 22 Arcane Vehicle Quick Roll Table 24 Arcane Architecture Quick Roll Table 28 Mystical Materials 33 Future Materials 37 Normal Materials 37 Modern Armour 40 Materials from other universes 40 Armour Materials Table 47 Beyond Heroes Artifacts 51 DC Universe Artifacts 59 Marvel Universe Artifacts 93 Artifacts from other Comic Universes’ 119 Moorcock Artifacts 125 Dungeons and Dragons Artifacts 131 Folklore Artifacts 137 2 Intelligent creatures, on the other hand, Foreword tend to value magical items above other The Beyond Heroes Role Playing Game items of treasure. They recognize such is based on a heavily revised derivative items for what they are (unless the item version of the rules system from is very well disguised or unique) and Advanced Dungeons and Dragons 2nd take them. Knowing such items can be edition. It also makes extensive use of used to their benefit, they will attempt to the optional point buying system as learn the function of the item. A creature presented in the AD&D Player’s Option that can use an item will use it. Useful Skills and Powers book. My primary magical items that are part of treasure goal was to make this system usable in will therefore be in the creature's hands, any setting, from fantasy to pulp to not hidden away. superhero to science fiction. One of the most important types of treasure a character can earn is a magical 1. Buying Magical item. Not only does the item act as an immediate reward for good play, it iteMs increases the power and survivability of As player characters earn more money the character. Such items add to the and begin facing greater dangers, some wonder and romance of the game, of them will begin wondering where allowing the character to perform feats they can buy magical items. Using 20th- far beyond those of ordinary mortals. century, real-world economics, they will Rare indeed is the player character who figure there must be stores that buy and does not want the rewards of magical sell such goods. Naturally they will want items. to find and patronize such stores. However, no magical stores exist. Like other treasures, magical items may be found in the lairs of unintelligent and Before the GM goes rushing off to create intelligent monsters. Random encounters magical item shops, consider the player with unintelligent monsters shouldn't characters and their behavior. Just how yield magical items (except in rare cases often do player characters sell those where the beast has swallowed them). potions and scrolls they find? Cast in a After all, why (let alone how) would a sword +1? Unload a horn of blasting or a giant snake carry around a sword +1? ring of free action? Unintelligent creatures may have a few More often than not, player characters items in or near their lairs, the former save such items. Certainly they don't possessions of their victims. Even this give away one-use items. One can never will be rare, however. Such monsters have too many potions of healing or don't recognize the worth of magical scrolls with extra spells. Sooner or later items and seldom make a special effort the character might run out. Already to collect them. The comments relating have a sword +1? Maybe a henchman or to treasure and unintelligent creatures hireling could use such a weapon (and can be applied here. develop a greater respect for his master). Give up the only horn of blasting the party has? Not very likely at all. It is 3 reasonable to assume that if the player wide variety of interesting magical characters aren't giving up their goods, items, but there's the risk of creating an neither are any non-player characters. out-of-control Monty Haul situation. And if adventurers aren't selling their And a magic-rich world has finds, then there isn't enough trade in consequences unforeseen by most GMs. magical items to sustain such a business. If magic is common, then normal people Even if the characters do occasionally will begin to build inventions around it. sell a magical item, setting up a magic There may be djinni-powered steam shop is not a good idea. Where is the engines, crystal ball telecommunications sense of adventure in going into a store networks, and other very un-medieval and buying a sword +1? Haggling over results. This can be entertaining, but it the price of a wand? Player characters does drastically change the shape of the should feel like adventurers, not campaign world. The charm of merchants or greengrocers. Consider this discovering a magical item is lost if as well: If a wizard or priest can buy any everyone has one, but too few magical item he needs, why should he waste time items can also ruin a game. attempting to make the item himself? This is especially true at higher levels Magical item research is an important where magic is so important to character role-playing element in the game, and survival. You don't want to kill half the opening a magic emporium kills it. party just so the survivors can be excited There is a far different sense of pride on at discovering a sword +1. The GM the player's part when using a wand his wants each magical treasure, no matter character has made, or found after how small, to feel special, but at the perilous adventure, as opposed to one he same time he must be able to balance the just bought. pain of its acquisition against the reward. This is not a thing the GM can learn Finally, buying and trading magic through formulae or tables. It takes time presumes a large number of magical and judgment. items in the society. This lessens the GM's control over the whole business. Logically-minded players will point out the inconsistency of a well-stocked 3. researching magic shop in a campaign otherwise sparse in such rewards. Magical iteMs One of the abilities shared by the wizard and priest groups is their ability to construct magical items. This is a potent 2. Magic-rare or ability, but it is not one easily used. As GM you do not want your player coMMon? characters constructing every magical One of the things the GM decides is just item available. Each one should be an how common magic is in his campaign. accomplishment and the springboard for Is the world rich in magical items such a new adventure. The wizard's ability to that every lowly fighter has access to at research items is divided into different least a sword +1? Players enjoy having a phases. Although a wizard can cast a 4 magic missile at 1st level, he cannot spells to call upon greater powers. Even transcribe that spell onto a scroll until he after learning what he must do, the reaches 9th level. The same is true of spellcaster may have to do further brewing potions. research to learn the techniques required for each step. Only when he reaches 11th level can a wizard attempt to create other magical All of this will cost the character time items. Even then he may not be able to and money, so his dedication and create many items if he lacks the ability resources must be substantial if he hopes to cast the necessary spells.The priest to succeed. The process of gathering the can begin creating scrolls at 7th level needed information and materials is a and can brew a few potions (mainly grand excuse for one adventure after those involving healing) at 9th level. another. Making a magical item is more Clerics can fabricate only a few other than just a mechanical process. It should magical items and cannot attempt these also be an opportunity for excitement until they reach at least 11th level. As and role-playing. with the wizard, their ability even then may be limited by the spells they have access to at the time. 4. the nature oF Creating a magical item is much like researching a new spell. The GM and the Magical player must cooperate and work together to bring about the desired goal. FaBrication However, there are differences.In There are two basic attitudes toward the magical item research, the desired goal making of magical items: The practical is usually well-known to both the player method and the fantastic method. and the GM. The player says, "Rupert wants to create a potion of The practical method says that magical clairaudience." item manufacture is somehow tied to common sense; the materials needed to The effect is known; what must be done make the item reflect the properties of to create it isn't.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.).
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .
    [Show full text]
  • 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]...............................................................................................................................--)-------
    [Show full text]
  • 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).
    [Show full text]