DOCSLIB.ORG

Warhammer Quest: the Adventure Card Game Learn to Play

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

TM Introduction ou no sooner set foot inside the ancient ruins than Ythe tunnel behind you collapses. Foul laughter screeches all around you. You cannot hope to dig your way out; all you can do is search for an exit… Game Overview Warhammer Quest: e Adventure Card Game is a cooperative game in which one to four players control a party of heroes cooperating to complete a series of USING quests set amid the evil and chaos of the Warhammer THIS is Learn to Play Booklet isB writtenOOKLET with the universe. sole purpose of teaching new players how to play is game features the “An Uneasy Alliance” campaign, Warhammer Quest: e Adventure Card Game. which spans ve quests that players can either spread For this reason, this booklet omits many rules out among several game sessions or play in a single, exceptions and card interactions. longer game session. is game also includes “Lost In In addition to this booklet, this game includes a the Dark,” a single-session delve quest that uses most of Rules Reference that handles questions and special the rules of a campaign quest with some modi cations exceptions that are not answered in this booklet. (“Delve Quests” on page 14). During both the campaign and the delve quest, heroes increase in power as they nd equipment and gain abilities necessary to overcome the challenges they will face. TM Components A FOUL STENCH SETUP Enemies: Shuffle Giant Bats, Gigantic Spiders, Goblin Warriors, Orc Boys, 4 open standard enemies, and 2 open elite enemies together. Place the Odious Grump nemesis card in the nemesis lair; he spawns through peril effects. Locations: Shuffle 3 open locations together. Then, place the Grump’s Sump location cardA on FtheOUL bottom of that deck. STENCH Gear and Dungeon Decks: Shuffle 12 open gear cards together. Shuffle 12 open dungeon cards together. AN UNE After Odious Grump is defeated,ASY heA flees, and the party tracks him; place his LLIANCE: Q enemy card in the nemesis lair. Then, add 4 progressUEST to the1 current location. The city of Schompf had never seen anything like it. The youngest fell to sickness a moon ago, and their elders soon followed them into the grave. At first, it was believed to be a plague brought on by the debauchery of a travelling carnival, but the execution and burning of the entire troupe did nothing to quell the problem. A perplexed and dying city was on the verge of collapse until an unsuspecting rat-catcher named Jod began spreading tales of a peculiar odor— “more peculiar than usual”—emanating from the sewers. Jod informs you that he has also stumbled across a secret entrance dug into the tunnels on the outskirts of town; something has recently been accessing the city’s water supply, no doubt for devious purposes. You must investigate. A grinning goblin steps into view. “Dis is Grump’s place!” He waves a nasty, filth-smeared dagger at you. “Zog off, or I’z gonna shank yer wif me shank!” REWARD PENALTY Spawn Odious Grump. Screaming curses, the goblin flees into the darkness. “I’z gonna git yer! “I warned yer!” Grump leaps from the darkness,Bloodied his and blade beaten, flashing. you scurry“Ain’t fornuffin the exit. fer yer ‘ere!” Jest yer wait!” You briefly pursue, but he quickly draws out of sight. Spawn Odious Grump. If he is already in play,Mocking he recovers laughter all chases you from the tunnel. Clean-up is no small task, but you secure the remaining barrels. It may Your failure will most certainly lead to further take a few days, but Schompf’s water should flow clean again soon. illness and death. Add Odious Grump and 1 Legendary Fortune Add Odious Grump. Regardless, to the campaign he activates pool. and readies. gear card to the campaign pool. The goblin leaps again into your midst, his “shank” slashing at you repeatedly. Spawn Odious Grump. If he is already in play, he recovers all he activates and readies. Then, he activates and readies again. Regardless, 1 Rules Reference During the location phase,V ICTORYif Grump’s Sump is fully explored, resolve “Reward” on the back of this sheet. D If all heroes are defeated, resolve “Penalty”EFEAT on the back of this sheet. 6 Quest Sheets (double-sided) 6 Dice (3 hero, 3 enemy) 1 Peril Token Bright Wizards are 1 Party Leader Token masters of Aqshy, the Lore Sigmar’s Light of Fire. They are known to be just as volatile and Aid combustible in personality as theIf explosive this hero magic is the they party leader,control. she activates twice during each hero phase. I Goblin Warrior » Bright Wizard 10 Aid: . Greenskin » The target hero may ready 1 action. Bright Wizard » You and the target hero each recover 1. 14 Priests of Sigmar are able to call down I Confounding Stairs blessings upon themselves and their allies. 1 Civilized 12 Hero Cards INFLICT 0 2 20 Success Tokens (4 heroes, 3 cards per hero) Warrior Priest - Basic Prey: This enemy engages the hero with the most . PREY Goblins are endlessly wicked and mean-spirited, forever thieving and 32 Action Cards hurting those too weak to fight back. A chamber with many exits. Some (4 heroes, 8 cards go up, some go down. Choosing the correct path will be difficult. At the end of the location phase, discard 1 progress from this per hero) 2 location. 50 Enemy Cards 2 Weapon - Missile 6 During your attack action, you may apply +1 for each 26 Location Cards rolled. Weapon - Melee Asrai Lo After your activation, ngb Waywatcher ow you may discard 1 and exhaust 1 action Bleeding card to choose 9 Progress Tokens 1 enemy engaged with you. That After your activation, 12 Legendary enemy suffers 1 suffer 1 (double-sided) . After another hero aids Han . d Axe you, discard this card. Horn of G Gear Cards rim item nir 2 33 Gear Cards LEARN You may discard this TO card before a hero’s PLAY activation to exhaust 2 non-nemesis 12 Condition Cards enemies. (3 types, 4 cards per type) 38 Dungeon Cards 45 Wound Tokens (double-sided) 3 LAY P 1 TO Ironbreaker - Basic - Ironbreaker Ironbreaker - Basic - Ironbreaker Ironbreaker - Basic - Ironbreaker Ironbreaker - Basic - Ironbreaker themselves and their allies. their and themselves both protect to shield their Every dwarf dreams of reclaiming it. reclaiming of dreams dwarf Every use to learn Ironbreakers dwarfs are hard to kill. to hard are dwarfs has been lost to goblins and worse creatures. creatures. worse and goblins to lost been has 14 Ironbreaker Orcs and dwarfs agree on only one thing: thing: one only on agree dwarfs and Orcs —A Khazalid battle cry. battle Khazalid —A realm underground dwarfs’ the of Most Ready all of your actions. your of all Ready » “Uzkular A Urki Karaz Ankor!” Karaz Urki A “Uzkular . +2 apply The target hero may ready 1 action. 1 ready may hero target The » it on the bottom of the dungeon deck. dungeon the of bottom the on it EARN action, this During . Rest: » that card or exhaust an action to place place to action an exhaust or card that may target up to 2 enemies. 2 to up target may hero. Draw 1 dungeon card. Either resolve resolve Either card. dungeon 1 Draw » engaged with you. with engaged . Before this action, you you action, this Before . Attack: » engage 1 enemy engaged with the target target the with engaged enemy 1 engage engage 1 enemy engaged with the target target the with engaged enemy 1 engage L You may exhaust 1 non-nemesis enemy enemy non-nemesis 1 exhaust may You » . Before this action, you may may you action, this Before . Aid: » invaders. . Explore: » You may engage up to 2 enemies. 2 to up engage may You » threat of subterranean subterranean of threat holds from the constant constant the from holds holds from the constant constant the from holds dark deeps of their dwarf dwarf their of deeps dark dark deeps of their dwarf dwarf their of deeps dark tasked with protecting the the protecting with tasked tasked with protecting the the protecting with tasked armoured tunnel fighters, fighters, tunnel armoured armoured tunnel fighters, fighters, tunnel armoured Ironbreakers are heavily heavily heavily are are Ironbreakers Ironbreakers Rest Aid Explore Attack Stubborn Resolve Stubborn Shield Wall Shield Into the Dark the Into Inexorable Advance Inexorable ) Remove the two “Locked “Locked the two Remove Players choose one player to to player choose one Players if they can avoid being devoured. being avoid can they if can make a surprisingly good living, living, good surprisingly a make can bounty on rat tails. Rat-catchers Rat-catchers tails. rat on bounty Most cities in the Empire have a a have Empire the in cities Most I A NFLICT NCE A DV GAME 1 0 0 0 0 3 3 3 3 Separate the wound tokens, success success tokens, the wound Separate Search the enemy cards for two grey two for cards the enemy Search 4 Creature Creature I Rat Swarm Swarm Rat Rat 3 PLAYER - . Create Dungeon Deck: Create the and card, the “Warpstone” cards, Gold Chest” box; the game them to return and card “Cannon” e en, shu they the be tutorial. will used not for the dungeon form to cards dungeon the remaining in reach area in the play facedown it place and deck all players. of Place Enemies: Archer” Goblin grey “Night two cards, Swarm” “Rat e Shu Wolf” cards. grey “Giant two and cards, in front faceup deal one randomly and these cards the of the centre to facedown two and each hero of them.
Recommended publications
  • ORB QUEST™ Is a Programmed Adventure for the Instruction, It W I 11 Give You Information and FANTASY TRIP™ Game System

    ORB QUEST™ Is a Programmed Adventure for the Instruction, It W I 11 Give You Information and FANTASY TRIP™ Game System

    0RB QUEST™ More adventures in the service of Thorsz. A programmed Microquest® for use with ME LEE'" and WIZARD'" or ADVANCED MELEE'" and ADVANCED WIZARD'". Game Design: Paul c. Wagner Playtesting: Ron Hopkins Editing: Kevin Hendryx Cover Art: Robert Phillips V COPYRIGHT© 1982 Games Research Group, Inc. Al I Rights Reserved 3 2 from agai~ Enough prospered, however, to establish INTRODUCTION the base of the kingdom and dynasty of the Thorsz as it now stands. During evening rounds outside the w i. zard's "With time and the excess of luxuries brought quarters at the Thorsz's pa I ace, you are. deta 1 n~~ b~ about by these successes, the fate of the ear I i er a red-robed figure who speaks to you 1 n a su ue orbs was forgotten. Too many were content with tone. "There is a task that needs to _be done," their lot and power of the present and did not look murmurs the mage, "which is I~ the service of the forward into the future. And now, disturbing news Thorsz. It is fu I I of hardsh 1 ps and d~ngers, but Indeed has deve I oped. your rewards and renown w i I I be accord 1 ng I Y great. "The I and surrounding the rea I ms of the Thorsz Wi II you accept this bidding?" has become darker, more foreboding, and more With a silent nod you agree. dangerous. One in five patrols of the border guard "Good," mutters the wizard. "Here 1 s a to~en to returns with injury, or not at al I.
  • Toward a Theory of the Dark Fantastic: the Role of Racial Difference in Young Adult Speculative Fiction and Media

    Toward a Theory of the Dark Fantastic: the Role of Racial Difference in Young Adult Speculative Fiction and Media

    Journal of Language and Literacy Education Vol. 14 Issue 1—Spring 2018 Toward a Theory of the Dark Fantastic: The Role of Racial Difference in Young Adult Speculative Fiction and Media Ebony Elizabeth Thomas Abstract: Humans read and listen to stories not only to be informed but also as a way to enter worlds that are not like our own. Stories provide mirrors, windows, and doors into other existences, both real and imagined. A sense of the infinite possibilities inherent in fairy tales, fantasy, science fiction, comics, and graphic novels draws children, teens, and adults from all backgrounds to speculative fiction – also known as the fantastic. However, when people of color seek passageways into &the fantastic, we often discover that the doors are barred. Even the very act of dreaming of worlds-that-never-were can be challenging when the known world does not provide many liberatory spaces. The dark fantastic cycle posits that the presence of Black characters in mainstream speculative fiction creates a dilemma. The way that this dilemma is most often resolved is by enacting violence against the character, who then haunts the narrative. This is what readers of the fantastic expect, for it mirrors the spectacle of symbolic violence against the Dark Other in our own world. Moving through spectacle, hesitation, violence, and haunting, the dark fantastic cycle is only interrupted through emancipation – transforming objectified Dark Others into agentive Dark Ones. Yet the success of new narratives fromBlack Panther in the Marvel Cinematic universe, the recent Hugo Awards won by N.K. Jemisin and Nnedi Okorafor, and the blossoming of Afrofuturistic and Black fantastic tales prove that all people need new mythologies – new “stories about stories.” In addition to amplifying diverse fantasy, liberating the rest of the fantastic from its fear and loathing of darkness and Dark Others is essential.
  • Start Time:​ 7:32 Teton Gravity Research Partnership the Quest

    Start Time:​ 7:32 Teton Gravity Research Partnership the Quest

    Directors in Attendance: Kurt Giesselman, Ken Stone, Tyler Newman, Gary Pierson, Scott ​ Clarkson Staff: John Norton, Laurel Runcie, Daniel Kreykes, Andrew Sandstrom, Jeff Moffett ​ On phone: Wynn Williams ​ Guest: Chris Ledoulis ​ ​ Start time: 7:32 ​ President’s Update Kurt Giesselman -We have a quorum. -Move to approve keeping same slate of officers. -Approval of January Minutes. -New Board member introduction to Wynn Williams and Tyler Newman. Teton Gravity Research Partnership Summary: 350k for 2017 and 450k for 2018. This will put us at the same partnership level as Jackson Hole and Switzerland. Discussion: We will have major web presence, film inclusion 2018, summer bike test, and 20,000 new guest entries per year from the film tour. Our brand will be aligned with a trusted industry partner in TGR. Follow up: Bring forward updated budget so the process can move forward. The Quest Summary: How can we keep people coming back with the CBGtrails app? The Quest will track the trails that you have ridden during the summer. Hit mile marker benchmarks, win prizes. 80k to move forward. th th Discussion: We are trying to give people a reason to keep coming back a 4 ​ or 5 ​ time. This ​ ​ also differentiates us from other destinations. Follow up: Bring revised budget so that we can move forward. Look into 3 or more-year agreement in the contracting process. Air update Summary: Dallas, Houston, Denver, all down. Chicago and LA have improved, but payouts will still be huge. What do we need to do in the future to minimize our payouts? Discussion: In short, there is no good answer.
  • Alternative Currents in Dallas's Religious Traditions

    Alternative Currents in Dallas's Religious Traditions

    Swimming in Other Streams Alternative Currents in Dallas's Religious Traditions BY J. GoRDON MELTON ~e are two ways oflooking at religion in the state oITexas. In the first instance, we begin with the singular dominance ofTexas by just three religious groups-the Southern Baptists, T the United Methodists, and the Roman Catholics.Their membership accounts for about half argue, of the state's population, with a few additional groups-the Churches of Christ, the National ICan r Baptists (three groups), the African Methodists (three groups), the Presbyterians, two Lutheran partict groups, the Episcopalians, and several Pentecostal groups-filling out the next tier of religious is hon Texans. One could tell the story of Texas religion by limiting the account to these dozen group ~ anoth( groups and do very little, if any, injustice to it. some Additionally, this approach reflects the reality of religion at the national level, where over and sy half of the American population has chosen to be members of a mere twenty-five Christian larger denominations, each of which has at least one million members. Upon examination they gory a the L; are seen to represent the current spectrum of Christian belief and practice. Their position is set of strengthened by considering the forty additional denominations that have at least 100,000 them members and which also present the san1e spectrum of Christian theology, social stances, and the CJ public behavior. The worldview represented by the 25 big denominations is identical to the Christ worldview held by the additional 900+ Christian denominations in America, which together who f include between 70 and 80 percent of the American population.
  • TNT Greenlights New Series DALLAS

    TNT Greenlights New Series DALLAS

    TNT Greenlights New Series DALLAS TNT has given the greenlight to DALLAS, an all-new series based upon one of the most popular television dramas of all time, about the bitter rivalries and family power struggles within a Texas oil and cattle-ranching dynasty. Famous for its ratings-grabbing cliffhangers, the original series was known for its wealth, seduction, scandal and intrigues. Set in the big state of Texas, TNT’s new DALLAS — from Warner Horizon Television — also lives life large and in the fast lane and brings a new generation of stars together with cast members from the original drama series. The new DALLAS stars Josh Henderson (90210), Jesse Metcalfe (John Tucker Must Die), Jordana Brewster (Fast & Furious), Julie Gonzalo (Veronica Mars) and Brenda Strong (Desperate Housewives), and they will be joined by iconic stars Patrick Duffy, Linda Gray and Larry Hagman as J.R. Ewing. TNT has ordered 10 episodes of DALLAS, which is slated to premiere in summer 2012. TNT will give viewers their first look at DALLAS on Monday with a special sneak peek during the season premieres of the network’s blockbuster hits THE CLOSER, which starts at 9 p.m. (ET/PT), and RIZZOLI & ISLES, which airs at 10 p.m. (ET/PT). TNT is unveiling today a website dedicated to the new DALLAS series, where fans can view an online photo gallery that features a first look into the show’s new and returning cast. Fans can visit the new site, http://www.dallastnt.com, to watch sneak peeks and behind-the-scenes videos.
  • Gatehouse Gazette ISSUE 9 NOV ‘09 ISSN 1879-5676

    Gatehouse Gazette ISSUE 9 NOV ‘09 ISSN 1879-5676

    Gatehouse Gazette ISSUE 9 NOV ‘09 ISSN 1879-5676 BEAUtIFUl Industry EMRE TURHAL ISSUE 8 Gatehouse Gazette SEP ‘09 CONTENTS The Gatehouse Gazette is an FEATURES online magazine in publication Loving the Factory, too 3 since July 2008, dedicated to the Industry and machines in steampunk and dieselpunk. speculative fiction genres of 4 steampunk and dieselpunk. Alchemy for Mystery Interview with Carol McCleary, author of The Alchemy of Murder The Flying Scotsman 8 Not a man with wings but a champion of the steam railway. Start up the Big Machines 16 The industrialization of Britain, Germany and France compared. The Asylum 19 Thoughts on the recent Lincoln, England steampunk convivial. COLUMNS REVIEWS Dieselpunk Season 12 Hilde Heyvaert’s The Steampunk Wardrobe . The Alchemy The Martini 15 of Murder 4 Craig B. Daniel’s The Liquor Cabinet . Boilerplate 7 Quatermass and the Pit 11 Guy Dampier’s last Quatermass review. Leviathan 10 Dieselpunk Online 6 The Invisible An overview of what’s new at the premier dieselpunk websites. Frontier 13 Casshern 18 ©2009 Gatehouse Gazette . All rights reserved. Neither this publication nor any part of it may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the Gatehouse Gazette . Published every two months by The Gatehouse . Contact the editor at [email protected]. PAGE 2 ISSUE 8 Gatehouse Gazette SEP ‘09 EDITORIAL LOVING THE NICK OTTENS FACTORY, TOO THERE ARE STARK AND UNDENIABLE DIFFERENCES dieselpunk, more distinctly informed b y cyberpunk between the mindsets of steampunk and dieselpunk in sensibilities, is more likely to become a dystopia than its spite of the close bonds between both genres and those steampunk counterpart.
  • Golden Fantasy: an Examination of Generic & Literary Fantasy in Popular Writing Zechariah James Morrison Seattle Pacific Nu Iversity

    Golden Fantasy: an Examination of Generic & Literary Fantasy in Popular Writing Zechariah James Morrison Seattle Pacific Nu Iversity

    Seattle aP cific nivU ersity Digital Commons @ SPU Honors Projects University Scholars Spring June 3rd, 2016 Golden Fantasy: An Examination of Generic & Literary Fantasy in Popular Writing Zechariah James Morrison Seattle Pacific nU iversity Follow this and additional works at: https://digitalcommons.spu.edu/honorsprojects Part of the Children's and Young Adult Literature Commons, and the Fiction Commons Recommended Citation Morrison, Zechariah James, "Golden Fantasy: An Examination of Generic & Literary Fantasy in Popular Writing" (2016). Honors Projects. 50. https://digitalcommons.spu.edu/honorsprojects/50 This Honors Project is brought to you for free and open access by the University Scholars at Digital Commons @ SPU. It has been accepted for inclusion in Honors Projects by an authorized administrator of Digital Commons @ SPU. Golden Fantasy By Zechariah James Morrison Faculty Advisor, Owen Ewald Second Reader, Doug Thorpe A project submitted in partial fulfillment of the requirements of the University Scholars Program Seattle Pacific University 2016 2 Walk into any bookstore and you can easily find a section with the title “Fantasy” hoisted above it, and you would probably find the greater half of the books there to be full of vast rural landscapes, hackneyed elves, made-up Latinate or Greek words, and a small-town hero, (usually male) destined to stop a physically absent overlord associated with darkness, nihilism, or/and industrialization. With this predictability in mind, critics have condemned fantasy as escapist, childish, fake, and dependent upon familiar tropes. Many a great fantasy author, such as the giants Ursula K. Le Guin, J.R.R. Tolkien, C.S. Lewis and others, has recognized this, and either agreed or disagreed as the particulars are debated.
  • Defining Fantasy

    Defining Fantasy

    1 DEFINING FANTASY by Steven S. Long This article is my take on what makes a story Fantasy, the major elements that tend to appear in Fantasy, and perhaps most importantly what the different subgenres of Fantasy are (and what distinguishes them). I’ve adapted it from Chapter One of my book Fantasy Hero, available from Hero Games at www.herogames.com, by eliminating or changing most (but not all) references to gaming and gamers. My insights on Fantasy may not be new or revelatory, but hopefully they at least establish a common ground for discussion. I often find that when people talk about Fantasy they run into trouble right away because they don’t define their terms. A person will use the term “Swords and Sorcery” or “Epic Fantasy” without explaining what he means by that. Since other people may interpret those terms differently, this leads to confusion on the part of the reader, misunderstandings, and all sorts of other frustrating nonsense. So I’m going to define my terms right off the bat. When I say a story is a Swords and Sorcery story, you can be sure that it falls within the general definitions and tropes discussed below. The same goes for Epic Fantasy or any other type of Fantasy tale. Please note that my goal here isn’t necessarily to persuade anyone to agree with me — I hope you will, but that’s not the point. What I call “Epic Fantasy” you may refer to as “Heroic Fantasy” or “Quest Fantasy” or “High Fantasy.” I don’t really care.
  • Exploring Trauma Through Fantasy

    Exploring Trauma Through Fantasy

    IN-BETWEEN WORLDS: EXPLORING TRAUMA THROUGH FANTASY Amber Leigh Francine Shields A Thesis Submitted for the Degree of PhD at the University of St Andrews 2018 Full metadata for this thesis is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this thesis: http://hdl.handle.net/10023/16004 This item is protected by original copyright This item is licensed under a Creative Commons Licence https://creativecommons.org/licenses/by-nc-nd/4.0/ 4 Abstract While fantasy as a genre is often dismissed as frivolous and inappropriate, it is highly relevant in representing and working through trauma. The fantasy genre presents spectators with images of the unsettled and unresolved, taking them on a journey through a world in which the familiar is rendered unfamiliar. It positions itself as an in-between, while the consequential disturbance of recognized world orders lends this genre to relating stories of trauma themselves characterized by hauntings, disputed memories, and irresolution. Through an examination of films from around the world and their depictions of individual and collective traumas through the fantastic, this thesis outlines how fantasy succeeds in representing and challenging histories of violence, silence, and irresolution. Further, it also examines how the genre itself is transformed in relating stories that are not yet resolved. While analysing the modes in which the fantasy genre mediates and intercedes trauma narratives, this research contributes to a wider recognition of an understudied and underestimated genre, as well as to discourses on how trauma is narrated and negotiated.
  • Fantasy Films As a Postmodern Phenomenon A

    Fantasy Films As a Postmodern Phenomenon A

    FANTASY FILMS AS A POSTMODERN PHENOMENON A THESIS SUBMITTED TO THE DEPARTMENT OF COMMUNICATION AND DESIGN AND THE GRADUATE SCHOOL OF ECONOMICS AND SOCIAL SCIENCES OF İHSAN DOĞRAMACI BİLKENT UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS By İclal Alev Değim June 2011 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. İCLAL ALEV DEĞİM __________________________ ii I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. ________________________________________ Assist. Prof. Dr. Ahmet Gürata (Advisor) I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. ________________________________________ Assist. Prof. Dr. Dilek Kaya Mutlu I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. ________________________________________ Dr. Özlem Savaş Approved by the Graduate School of Fine Arts ________________________________________ Prof. Dr. Bülent Özgüç Director of the Graduate School of Fine Arts iii ABSTRACT FANTASY FILMS AS A POSTMODERN PHENOMENON İclal Alev Değim M.A. in Media and Visual Studies Advisor: Assist. Prof.
  • Who Shot J.R.?

    Who Shot J.R.?

    INVESTMENT INSIGHTS 1062 Highland Colony Parkway • Suite 100 • Ridgeland, Mississippi 39157 January 17, 2020 Arty Finkelberg, CFA, CFP® • Managing Director, Investments • 601.856.1212 Letter #100 29,298 3,324 1.55% 1.81% DJIA S&P 500 3-MONTH T-BILL 10-YR TREASURY BOND Our Centenary Celebration O n August 20, 1993, I penned the initial issue of Investment Overall, I hope Investment Insights has informed you of our Insights. The first sentence read “Let’s just call this newsletter mission, which is to guide you to and through retirement an experiment, an additional line of communication that with a minimum of worry, and with expertise and kindness. will hopefully address some of your interests and concerns This is certainly an occasion to celebrate our relationship in a concise manner.” Frankly, I wasn’t sure there would be with you, our client family, whether the relationship began an appetite for Investment Insights number two. yesterday or years before issue number one was written. Finkelberg Investments exists because of you and for you. We are grateful to you for trusting us with your money and your dreams, and for giving our lives purpose in helping you. Of course, this centenary issue is an opportunity to publicly thank the best support team in the business - Deborah Williams, Alice Fairley, Sally Avalon, and Davis Bourne - for their hard work, integrity, thoughtfulness and ultimately, their daily dedication to you. From the bottom of my heart, thank you. Hopefully, you have enjoyed reading Investment Insights half as much as we have enjoyed writing it, and have gained insights that have helped guide you on your financial journey.
  • Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy

    Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy

    University of Rhode Island DigitalCommons@URI Open Access Dissertations 2018 Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy Kimberly Wickham University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Wickham, Kimberly, "Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy" (2018). Open Access Dissertations. Paper 716. https://digitalcommons.uri.edu/oa_diss/716 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. QUESTING FEMINISM: NARRATIVE TENSIONS AND MAGICAL WOMEN IN MODERN FANTASY BY KIMBERLY WICKHAM A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2018 DOCTOR OF PHILOSOPHY DISSERTATION OF KIMBERLY WICKHAM APPROVED: Dissertation Committee: Major Professor Naomi Mandel Carolyn Betensky Robert Widell Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2018 Abstract Works of Epic Fantasy often have the reputation of being formulaic, conservative works that simply replicate the same tired story lines and characters over and over. This assumption prevents Epic Fantasy works from achieving wide critical acceptance resulting in an under-analyzed and under-appreciated genre of literature. While some early works do follow the same narrative path as J.R.R. Tolkien’s The Lord of the Rings, Epic Fantasy has long challenged and reworked these narratives and character tropes. That many works of Epic Fantasy choose replicate the patriarchal structures found in our world is disappointing, but it is not an inherent feature of the genre.