DOCSLIB.ORG

Kitsunemori Campaign Setting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kitsunemori Campaign Setting visit our website at www.dogsoul.net Kitsunemori, Copyright 2006, Dog Soul Publishing, Sean C. Frolich and Deborah Balsam. Requires the use of the Dungeons & Dragons, Third Edition Core Books, published by Wizards of the Coast, Inc. “Wizards of the Coast” is a trademark of Wizards of the Coast, Inc. in the United States and other countries and is used with permission. Introduction. pg 5 Chapter 5. Magic Hearth Magic. pg 75 Chapter I. Characters Wards. pg 77 Humans. pg 7 Lore Charms. pg 78 Real World Religion and Kitsunemori. pg 10 Healing Charms. pg 80 Kitsune. pg 12 Worship Charms. pg 81 The Kitsune Fox Form. pg 15 Blessings and Curses. pg 83 Backgrounds. pg 16 Geomancy. pg 84 Bushido. pg 19 The Tao of Elemental Resonance. pg 85 Chapter 2. Classes Geomantic Arrays. pg 86 Core Classes. pg 23 Magatama. pg 88 Class Concepts. pg 28 Fox Magic. pg 90 Martial Artist. pg 29 Samurai. pg. 30 Map of Kitsunemori. pg 98 Sohei. pg 30 The Courtier Class. pg 31 Chapter 6. Kitsunemori The Myobu. pg 36 Ametsuchi: The Pillars of Heaven and Earth. The Nogitsune. pg 40 pg 100 The Kami. pg 102 Chapter 3. Character Options Greater Deities. pg 103 Prestige. pg 45 Lesser Deities. pg 103 Trickery and Deceit. pg 49 The Seven Lucky Gods. pg 105 Shrines. pg 52 Spirits. pg 106 Feats. pg 58 The Empire. pg 107 Skills. pg 56 The Yonhosu Valley. pg 112 Flaws. pg 61 The Toukai Han. pg 113 Chapter 4. Equipment The Akaki Han. pg 116 Weapons. pg 64 The Sairuuykoe Han. pg 118 Armor. pg 70 Sohei Temple Map. pg 122 Goods. pg 72 The Yamaken Han. pg 123 Shrine to Inari Map. pg 125 Prominent Figures in the Yonhosu Valley. pg 126 Calendar. pg 133 Holidays and Days of Importance. pg 136 Chapter 7. GM's Section The Story of Hanumachi. pg 139 Heavenly Halberd of the Marsh. pg 140 Chapter 8. Adventures In Kitsunemori Suggestions for Game Masters. pg 142 Story Seeds and Adventure Hooks. pg 143 Chapter 9. FOREST DENIZENS Bakemono. pg 145 Baku - The Eater of Dreams. pg 146 River Dragon. pg 148 Gaki. pg 150 Jikininki - The Corpse Eating Priest. pg 153 Kappa. pg 154 Kijo. pg 156 Ki-No-O-Bake. pg 157 Moon Folk. pg 158 Nukekubi. pg 160 Oni. pg 162 Akuma. pg 163 Amanojaku. pg 165 Kumo. pg 166 Samebito. pg 169 Shikigami. pg 170 Tanuki. pg 172 Temple Guardians. pg 173 Tengu. pg 175 Yuki-Onna. pg 176 Glossary. pg 178 Bibliography. pg 193 Index. pg 194 OGL. pg 197 The sun dawns upon the thick canopy of tightly-knit stops to leave a small morsel as an offering at the paw treetops, giving the mist an otherworldly radiance as it of a stone statue of a fox. The man utters a short prayer wraps lazily around the trunks and underbrush. The only before quickly walking away. relief from the ocean of green is the roads, maintained by the local authorities to ease travel, and the occasional As soon as the traveler is out of view, the stone statue pointed roof of a Shinto shrine. A few travelers are already transforms into a real fox and eats the offering, twisting making their way, trudging along muddy roads that its four tails in the direction of the traveler to grant the have not yet been set with paving stones, checking to man a small blessing as a way of thanks. The fox then ensure their papers are in order for the border outposts scampers into the underbrush, planning its mischief for that control traffic between the different feudal lands. the day. A lone wanderer wipes the morning dew off his thick This is a typical scene in Kitsunemori—The Fox Forest. traveling cloak and spots a small shrine on one side of A setting based on a variety of Japanese folktales and the road. The man is not particularly religious, but he myths, Kitsunemori is centered around the kitsune, the recognizes to whom the shrine is dedicated. Careful not enigmatic fox spirits that are both heroes and villains to incite the wrath of the spirit of the shrine, the traveler in many tales. You will need the Core Rule Books in order to play, but otherwise this book contains everything you need to create stories rooted in Japanese myths and legends. Kitsunemori is a self-contained setting that describes a small area—the Yonhousu Valley—of an otherwise unspecified world. You can insert the Kitsunemori setting into a larger, pre-existing world, expand the setting, or simply limit travel to the four lands detailed here. You will also find a collection of new rules to give a d20 game a more mythic Oriental flavor, from racial traits and classes available to kitsune characters to new feats, monsters, spells, and magic. Any or all of these options can be adapted for use in other types of d20 games as well. Chapter VII: Forest Denizens offers statistics and descriptions for the many creatures who inhabit Kitsunemori. This chapter presents Kitsunemori is divided into eight chapters for ease of several monsters based on Japanese mythology, use: from the playful tanuki to several kinds of terrifying Chapter I: Characters contains rules for creating demons. a character in Kitsunemori, including details about the two standard races (human and kitsune) as well as background information to help you flesh out a character’s history. Chapter II: Classes describes how to adapt the Kitsunemori is deeply rooted in the myths of both standard d20 fantasy classes for use in Kitsunemori. ancient and modern Japan. Many tales have inspired The chapter also introduces two kitsune classes this setting, from those passed down for hundreds (the myobu and the nogitsune) and a new socially of years to those recently published. The folktales, oriented class (the courtier), as well as suggestions on legends, and imagery that inspired Kitsunemori come how to multiclass in order to realize popular Japanese from popular media such as video games, movies, and concepts such as the samurai, ninja, and Shinto priest. Japanese manga and anime as much as they do from historical and mythological sources. Thus, Kitsunemori Chapter III: Character Options presents the concept represents a mythic version of medieval Japan, not a of prestige as well as a system to calculate how historical or factual one. much experience kitsune receive for their trickery. This chapter also discusses the importance of shrines and The kitsune themselves were obviously the main contains new feats and kitsune racial vulnerabilities. inspiration for this book. They are intriguing creatures featured in many Japanese folktales as well as in Chapter IV: Equipment consists of a collection of actual history, and they have been reinterpreted in useful items with a Japanese flavor. Much of this various ways in modern popular media. Kitsune are equipment obeys the conventions of myth rather bringers of mischief and misery, and so many people than the laws of physics, and some equipment options are quick to classify them as demons. But kitsune are blur the boundary between masterwork and magical also messengers of the god Inari, patron of rice, life, equipment. and fertility, and are thus also benevolent beings. In both conceptions, kitsune are described as playful, Chapter V: Magic presents new wards and charms for cunning, charming, and utterly dangerous. both humans and kitsune, as well as fox magic, a new system of racial powers that only kitsune can wield. Other staples of Japanese myth included in Kitsunemori are the tanuki, tengu, and kappa, as well as the evil oni Chapter VI: Kitsunemori details the Yonhosu Valley, a and the ambiguous bakemono. In many instances, small region covered by the haunted Fox Forest, where monster descriptions deviate from those found in the kitsune frolic in hidden glens and from which they traditional folklore; these monsters are presented as venture into human lands to wreak havoc and convey fantasy races and as creatures inspired by Japanese the favors of the gods. This chapter includes plot folklore rather than strict re-creations. Shinto mingles hooks for stories based in Kitsunemori and describes with Buddhism to create a cosmological backdrop for the main storyline, which revolves around protecting the setting, but a thorough knowledge of either is not the whole valley (and possibly the world) from a rising necessary. threat. The chapter also includes stats and descrip- tions of prominent NPC’s in the Kitsunemori setting, Another inspiration for Kitsunemori was the chambara as well as detailed information on the customs and genre as represented in comics and animation, which traditions of the people of the Yonhosu Valley. features heroic samurai and masterless ronin bravely crossing swords for the sake of honor. Of course, no Chapters VII - VIII: give background, plot hooks mythic Japanese setting would be complete without and other information for GM's to run a game in the ninja, the legendary shadow warriors who could Kitsunemori. master all sorts of magical powers. In Kitsunemori, most of the legends are real. 1 Making a character for Kitsunemori is similar to creating developments in the surrounding lands. Humans, a character for any other d20 fantasy game: determine despite being comfortably settled on the land, are ability scores, select a race, select a class, choose skills restless in spirit, and the four provinces in the valley and feats. While the mechanics are mostly the same, witness a great deal of migration as people move you’ll want to think about what kind of character within and across borders. you want to play and how it fits in with the mythic Japanese flavor of Kitsunemori.
Load more

Recommended publications
  • Japanisch Und Bujinkan Vokabelsammlung Von Kathrin Glück
    Japanisch und Bujinkan Vokabelsammlung von Kathrin Glück Schriftsysteme ........................................................................................................................2 Rōmaji ................................................................................................................................2 Hiragana ひらがな ...........................................................................................................3 Katakana カタカナ ...........................................................................................................5 Kanji 漢字 .........................................................................................................................7 Zählen ..................................................................................................................................10 Zähleinheitsuffixe ..............................................................................................................10 Mitzählen ..........................................................................................................................11 Stück ................................................................................................................................13 Personen ..........................................................................................................................14 Graduierungen im Bujinkan ...............................................................................................15 Vokabeln ..............................................................................................................................20
    [Show full text]
  • ADVANCED DUNGEONS & DRAGONS® the Complete Ninja's
    ADVANCED DUNGEONS & DRAGONS® 2nd Edition Player's Handbook Rules Supplement The Complete Ninja's Handbook By Aaron Allston CREDITS Design: Aaron Allston Editing: Barbara G. Young Black and White Art: Jim Holloway Color Art: Clyde Caldwell, Fred Fields, Les Dorscheid Typography: Tracey Isler Production: Paul Hanchette Acknowledgements: Many elements of The Complete Ninja's Handbook were derived from parts of Oriental Adventures designed by David "Zeb" Cook. In particular, portions of the optional Advanced Martial Arts rules are drawn from Oriental Adventures. TSR, Inc. TSR Ltd. 201 Sheridan Springs Rd. 120 Church End, Lake Geneva Cherry Hinton WI 53147 Cambridge CB1 3LB USA United Kingdom ADVANCED DUNGEONS & DRAGONS, AD&D, DRAGON, and DUNGEON MASTER are registered trademarks owned by TSR, Inc. The TSR logo is a trademark owned by TSR, Inc. This book is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission of TSR, Inc. Random House and its affiliate companies have worldwide distribution rights in the book trade for English language products of TSR, Inc. Distributed to the book and hobby trade in the United Kingdom by TSR Ltd. Distributed to the toy and hobby trade by regional distributors. ©1995 TSR, Inc. All rights reserved. Printed in the U.S.A. Table of Contents Introduction Chapter 1: The Ninja Class Ninja and Rogue Ninja Experience Levels Ninja Class Requirements Alignment Weapons and Armor
    [Show full text]
  • Eine Ander Bekannte Des Clans Der Mochizucki. Sie War, Die Abtrünnig, Welche Den Verat Am Stil Des Clans Machte
    Eine ander bekannte des Clans der Mochizucki. Sie war, die abtrünnig, welche den Verat am Stil des Clans machte. Den Namen verfälschte und sich, um unerkannt zu bleiben, nicht Mochitsuki schreibt. Sie war im Dienste des Takeda Clans eingegangen welche aus dem Aizu Clan hervorging. Sugeno no Dai-Soke Mochitsuki Shihan Es war im September 1661, als sich die Streitkräfte der Provinz Kai und der Armee der Provinz Echigo auf der "Insel zwischen den Flüssen", besser bekannt als Kawanakajima, in der nördlichen Provinz Shinano im feudalen Japan trafen. Dies war die vierte der 5 legendären Schlachten von Kawanakajima und die größte Anzahl an Unglücksfällen - mehr Krieger wurden allein in dieser einen Schlacht verloren als in allen anderen 4 zusammen. Einer dieser Krieger war Mochizuki Moritoki, ein Samurai-Herrscher aus Shinanos Saku-Distrikt in der Provinz Kai. Er hinterließ seine Frau, Mochizuki Chiyome, die ein riesiges, ganz weibliches Netzwerk von Ninja-Agenten im Dienst der Kai-Provinz schuf. Nun war Mochizuki Moritoki auch der Neffe des Daimyo - Feudalherren - der Provinz Takeda Shingen, und wie in Japan üblich, wurden die Frauen der gefallenen Krieger von der Provinz betreut. Moritokis Beziehung zu Shingen vergewisserte sich nur, dass Chiyome im Luxus die meiste Aufmerksamkeit erhalten würde, aber sie hatte andere Pläne. Sie dürstete nach Rache. Chiyome war kein bloßer Mauerblümchen einer Frau. Sie war eine direkte Nachfahrin des legendären Ninja- Kriegers und Lehrers Mochizuki Izumonokami, Gründer des Koga Ninja Clans. Izumonokami ist heute als Erfinder der Rauchbombe bekannt. Kein bloßer Mauerblümchen einer Frau! Sie überzeugte Shingen, ihr Projekt zu finanzieren - eine Akademie, um Frauen in der Kunst der Spionage, Sabotage und Aufklärung zu schulen.
    [Show full text]
  • Escaramuzas En El Japon Feudal Escaramuzas En El Japon Feudal
    ESCARAMUZAS EN EL JAPON FEUDAL ESCARAMUZAS EN EL JAPON FEUDAL Creado por Edita Diseño gráfico MINIATURAS Y JOE GALVEZ RedPig.es WARGAMES Colaboran ZENIT MINIATURES, PLAST CRAFT GAMES, IMPERIO WARGAMES, CLUB LANDWEHR, CAOBA ART, JACOBO RIVERA, MIGUEL ROBLES, GUSTAVO GONZALEZ Torii se encuentra bajo Licencia Creative Commons Reconocimiento – No comercial – Sin obra derivada www.miniaturasywargames.com Apdo. Correos 201, 29692 San Luis de Sabinillas Málaga, Spain www.zenitminiatures.es I J V Wargame de estrategia y simulación histórica ambientado en el Japón Feudal. El juego ha sido diseñado especialmente por Miniaturas y Wargames para utilizar la gama de figuras de Zenit Miniatures, creada para su juego de grandes batallas Kensei. Torii es un juego de escaramuzas, por lo que solo necesitaras de 8 a 12 miniaturas por bando. MATERIAL DE TIRADA DE ORDENES Esta tirada se realiza para JUEGO averiguar cuantas acciones puede llevar a cabo una miniatura en Para jugar una partida de Torii, el turno. Para activar a una de necesitarás una serie de materiales nuestras figuras, debemos lanzar básicos que explicamos a 1D6 y sumar su Iniciativa. Según continuación: el resultado: De 8 a 12 miniaturas por bando De 1 a 3: 1 acción. dispuestas sobre peanas cuadradas 4+: 2 acciones. o rectangulares para la caballería Adicionalmente, con 6+ se activa y otras miniaturas especiales. el Ki de la miniatura (ver más Un tablero, tapete o similar de 90 adelante) y se reciben Bonos sobre x 90 cm. las acciones. De 6 a 10 elementos variados de TIRADA DE ÉXITOS escenografía. Esta tirada consiste en lanzar Marcadores.
    [Show full text]
  • The Game's the Thing: a Cultural Studies Approach to War Memory, Gender
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarSpace at University of Hawai'i at Manoa THE GAME’S THE THING: A CULTURAL STUDIES APPROACH TO WAR MEMORY, GENDER, AND POLITICS IN JAPANESE VIDEOGAMES A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES MARCH 2017 By Keita C. Moore Thesis Committee: Christine Yano, Chairperson Lonny Carlile Yuma Totani ACKNOWLEDGEMENTS This thesis is in some ways marks an end to my twenties, and a beginning for everything thereafter. From its inception as a series of experiences in Japan to its completion in written form, I have been indebted to a great many people. First and foremost, I wish to thank my committee members: Christine Yano, Lonny Carlile, and Yuma Totani. All three were mentors to me in my coursework at the University of Hawaiʻi, and provided invaluable feedback and support throughout the writing process. Within the Asian Studies department, I am also grateful for the advice of Cathryn H. Clayton and Young-a Park. From my cohort, I cannot thank Clara Hur and Layne Higgenbotham enough for their friendship, and lending me a sympathetic ear from time to time. From a former life, I also wish to thank Kenneth Pinyopusarerk and John Crow. Without their patient mentorship, I would not be the writer—or the translator—that I am today. Likewise, I would never have come this far without my family: Carol-Lynne Moore, Kaoru Yamamoto, and Kiyomi Moore.
    [Show full text]
  • Conventions of This Guide
    The VINTAGE NINJA Movie & TV Guide VOL. 1: JAPAN, LIVE ACTION — 1920s-1980s © Keith J. Rainville, 2021 You want to see the movies Sho Kosugi grew up watching, the ones that inspired animation designers and video game artists of the 80s and 90s, the ones the James Bond people ripped off in the 60s, but where to start? Or, you’ve amassed a collection of these gems already but know there’s more out there. Here’s a user- friendly reference for both pursuits, with quick-and-easy recommendations for Japanese ninja titles from the silent era to the late 80s — their general flavor and tone, varying trends and tropes, and a lot of surprises. CONVENTIONS OF THIS GUIDE: • TITLES — for better or worse I’ve used the most commonly used translations out there. These are often the most accessible references to these films so, even if the title’s been butchered, there’s still a practical advantage when searching them out. • VN as an entity has to be cautious when it comes to supporting/endorsing certain not-so-authorized film collecting activities out there, so sorry, there’s no links here... • YES THERE’S MORE TO COME! This will be updated often and I have a huge stack of discs and files awaiting input. Plus future volumes on Anime, Japan 1990—present, Hong Kong/Chinese films, ninja-like hooded heroes, and more. • Yes, we welcome corrections and additions. Email me through the website. • See the Appendixes at the end for more info! Images © Shochiku Co., Ltd, 1965. Text © Keith J.
    [Show full text]
  • Risuko Complete Draft 25.Indd
    Seasons of the Sword #1 Ϧε ࢠ R ISUKO A Kunoichi Tale by David Kudler Advance Review Copy Stillpoint/Atalanta Stillpoint Digital Press Mill Valley, California, USA Copyright © 2015 by David Kudler All right reserved. This book may not be reproduced in whole or in part, stored in a retrieval system, or transmitted in any form or by any means — electronic, mechanical, or other — without written permission from the publisher, except by a reviewer, who may quote brief passages in a review. For more information, contact the publisher at [email protected] Cover design by James T. Egan of Bookfy Design Publisher’s Cataloging-in-Publication Data provided by Five Rainbows Services Kudler, David. Risuko : a Kunoichi tale / David Kudler. pages cm. – (Seasons of the sword, bk. 1) ISBN: 978-1-938808-32-6 (hardcover) ISBN: 978-1-938808-34-0 (pbk.) ISBN: 978-1-938808-33-3 (e-book) 1. Japan—History—Period of civil wars, 1480-1603—Fiction. 2. Ninja— Fiction. 3. Conspiracies—Fiction. 4. Determination (Personality trait)—Fiction. 5. Young adult fction. I. Title. PZ7.1.K76 Ri 2016 [Fic]—dc23 First edition, June 2016 Hardcover ISBN: 978-1-938808-32-6 Ebook ISBN: 978-1-938808-33-3 Paperback ISBN: 978-1-938808-34-0 LCCN: 2015918899 UNCORRECTED PROOF Version 1.0b25 Advance Review Copy THIS IS AN ADVANCE REVIEW COPY. IT IS NOT FOR SALE OR PUBLIC DISTRIBUTION IN PHYSICAL OR DIGITAL FORM. You have received this book for review purposes only. PLEASE DO NOT DISTRIBUTE IT WITHOUT PERMISSION. If you received it from someone other than David Kudler, Stillpoint Digital Press, or NetGalley and would like to review the book, please just contact us at [email protected] to let us know.
    [Show full text]
  • 2010 Mese 1 - in Collaborazione Con La Polisportiva Putinati Tel.0532 764185 - Info: - Copia Gratuita - Vietata La Vendita 2
    - N.6 Anno 2010 mese 1 - In collaborazione con la Polisportiva Putinati Tel.0532 764185 - info:www.kurokumo.it - Copia Gratuita - Vietata la vendita 2 “Se lo studio e la pratica non sono sufficienti, in qual modo si potrà dunque ritrovare almeno una scintilla di quelli che furono l’Antico Potere e l’Antica Sapienza dei Maghi? Resta una sola via da seguire: se operare come il Mago non basta, occorre pensare come il Mago, vedere l’Universo con i suoi occhi, agire alla luce della sua logica. Solo così si potrà scorgere l’obiettivo del Mago, il fine della Grande Opera; si comprenderanno le Leggi alle quali egli si appella, le Forze che entrano in gioco al suo Volere, le ragioni del suo Operare. Solo dopo di ciò si potrà pensare di imitarlo.” Sebastiano Fusco Pensiero saggio… che trova riscontro e validità in tutti i campi del Sapere Antico che richiedono un “immedesimazione” con la figura che praticava tale Sapere. Nemmeno il Ninjutsu è scevro da questa “regola”, noi praticanti non possiamo pensare di svolgere una “serie di specializzazioni Marziali” (Ninja SanJuRokkei – ovvero trentasei discipline Ninja) solamente perché pratichiamo Jutai Jutsu all’interno di un Dōjō, riscaldato d’inverno e condizionato d’estate, con il Tatami che attutisce le cadute. Lo Shinobi viveva con gli Elementi ed attraverso gli stessi operava, si muoveva quando le condizioni atmosferiche erano per proibitive per la gente comune, si nascondeva in anfratti e si fondeva con la Natura stessa divenendone egli stesso parte integrante. Come non si può esporre una teoria
    [Show full text]
  • Código Samurái -.: Carton Collector
    Código samurái (260) 1 UR Ryujin 81 R Espíritus Negros 161 C Fuego 241 V Nijo 2 UR Minamoto no Yoritomo 82 R Ceremonía del Té 162 C Agua 242 V Horyuji 3 UR Seiwa Genji 83 R Iado 163 C Sueño del Vacío 243 V Sanjusangendo 4 UR Nihon koryu jüjutsu 84 R Sombras Ninja 164 C Azuchi 244 V Shuriken 5 R Amatseratsu SP 85 R Canción Geisha 165 C Bitshu 245 V Kyu 6 R Izanagi e Izanami SP 86 R Haiku 166 C Castillo Hachigata 246 V Tanto 7 R Sennin SP 87 R Teatro Kabuki 167 C Castillo Hachioji 247 O Máscara de Jade 8 R Dogen Kissen SP 88 R Edo 168 C Palacio Katsura 248 O Mon Oda 9 R Kitsune SP 89 R Nagoya 169 C Ginkakuji 249 O Mon Moshi 10 R Kirin SP 90 R Onomichi 170 C Pagoda Yasaka 250 O Mon Tokugawa 11 R Bakemono SP 91 R Yamotsu 171 C Yari 251 O Crisantemo Imperial 12 R Shimma Kunoichi SP 92 R Monte Fuji 172 C Sais 252 O Bonzai 13 R Bojutsu SP 93 R Kinkakuji 173 C Naginata 253 O Campana Zen 14 R Espíritus Negros SP 94 R Katsura 174 V Toyotomi Hideyoshi 254 O Pez Koi 15 R Haiku SP 95 R Palacio de Kioto 175 V Jaraiya 255 O Shamisen 16 R Kusanagi SP 96 R Daibutsu de Kamakura 176 V Tsuname 256 O Kimono 17 R Agua SP 97 R Kusanagi 177 V Konohana 257 O Ikebana 18 R Tanuki SP 98 R Katana Amatseratsu 178 V Ohoyamatsumi 258 O Nikko-Bori 19 R Takeda Shingen SP 99 R Daisho Tokugawa 179 V Tanuki 259 O Origami 20 R Mon Moshi SP 100 R Kinton 180 V Fujin 260 O Yatay 21 R Ashikaga Takauji 101 C Tokugawa Yoshimune 181 V Hachiman 22 R Yoshimitsu 102 C Yamamoto Tsunetomo 182 V Keisan Yokin 23 R Hattori Hanzö 103 C Teruhime 183 V Senkio 24 R Amatseratsu 104 C Kaguya Hime
    [Show full text]
  • COVER PAGE WARNING Before Playing This Game, Read the Xbox 360® Instruction Manual and Any Peripheral Manuals for Important Safety and Health Information
    COVER PAGE WARNING Before playing this game, read the Xbox 360® Instruction Manual and any peripheral manuals for important safety and health information. Keep all manuals for future reference. For replacement manuals, see www.xbox.com/support or call Xbox Customer Support. Important Health Warning About Playing Video Games Photosensitive seizures A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games. Even people who have no history of seizures or epilepsy may have an undiagnosed condition that can cause these “photosensitive epileptic seizures” while watching video games. These seizures may have a variety of symptoms, including lightheadedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, or momentary loss of awareness. Seizures may also cause loss of consciousness or convulsions that can lead to injury from falling down or striking CONTENTS nearby objects. INTRODUCTION ................................................................ 2 Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents should watch for or ask their children about the above symptoms— GAME SCREEN .................................................................. 3 children and teenagers are more likely than adults to experience these seizures. The risk of photosensitive epileptic seizures may be reduced by taking the following precautions: CONTROLS ........................................................................ 4 Sit farther from the screen; use a smaller screen; play in a well-lit room; do not play when you are drowsy or fatigued. CONNECT TO XBOX LIVE ................................................. 5 If you or any of your relatives have a history of seizures or epilepsy, consult a doctor INVENTORY SCROLL .......................................................
    [Show full text]
  • The Anglo-Japanese Productions of Minakata Kumagusu
    LOST IN TRANSLATION: Non-Linear Literary, Cultural, Temporal, Political, and Cosmological Transformations – the Anglo-Japanese Productions of Minakata Kumagusu by Frederick Alan Little A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Division of Global Affairs written under the direction of Associate Professor Eva Giloi and approved by _________________________________ _________________________________ _________________________________ _________________________________ Newark, New Jersey May, 2012 ©2011 Frederick Alan Little ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION LOST IN TRANSLATION: Non-Linear Literary, Cultural, Temporal, Political, and Cosmological Transformations – the Anglo-Japanese Productions of Minakata Kumagusu by Frederick Alan Little Dissertation Director: Associate Professor Eva Giloi Naturalist, translator, littérateur, and political activist, Minakata Kumagusu, in his many endeavors, offers an intriguing series of parallelisms with patterns of non-linear development and network relationships found in the field of study that was his primary focus: botany, more specifically mycology. In contrast to models of cultural and political development imported from the West during the Meiji Restoration and extended during the Showa and Taisho eras, and the strong orientation toward centralized vertical hierarchy that in Japanese culture and governance of that period, Minakata offers an understanding in terms of dispersed non-linear networks. As botanist, folklorist, and environmental activist, Minakata refused engagement with academic and governmental institutions, conducting his life and work in the remote Kii Peninsuala. In doing so, he engaged with a variety of significant horizontal networks: elite aristocratic networks, demotic press networks, ascent pan-Asian political networks, domestic folkloric and literary networks, and international intellectual networks.
    [Show full text]
  • Caderno De Atividades
    Organizadores Autores Fabiane Verardi Burlamaque Ariéli Leite Farias Thais Geraldi de Andrade Diógenes Buenos Aires de Carvalho Franciele Fernando Silva de Aquino Raquel Cesar da Silva Larissa de Oliveira Sabrine Amalia Antunes Schneider Lissara Kaiuane Delphino Prédio do Centro Administrativo www.upf.br/16jornada/ Campus I - BR 285 - Bairro São José facebook.com/jornadasliterarias 99052-900 - Passo Fundo - RS twitter.com/JornadaNacional (54) 3316-8368 - [email protected] youtube.com/jornadasliterarias EDITORA UNIVERSIDADE DE PASSO FUNDO José Carlos Carles de Souza UPF Editora Reitor Karen Beltrame Becker Fritz Rosani Sgari Editora Vice-Reitora de Graduação CONSELHO EDITORIAL Leonardo José Gil Barcellos Altair Alberto Fávero (UPF) Vice-Reitor de Pesquisa e Pós-Graduação Andrea Oltramari (UFRGS) Bernadete Maria Dalmolin Alvaro Sanchez Bravo (UNIVERSIDAD DE SEVILLA) Vice-Reitora de Extensão e Assuntos Carlos Alberto Forcelini (UPF) Comunitários Carlos Ricardo Rossetto (UNIVALI) Cesar Augusto Pires (UPF) Agenor Dias de Meira Junior Cleci Teresinha Werner da Rosa (UPF) Vice-Reitor Administrativo Fernando Rosado Spilki (FEEVALE) Gionara Tauchen (FURG) CORPO FUNCIONAL Giovani Corralo (UPF) Héctor Ruiz (UADEC) Daniela Cardoso Helen Treichel (UFFS) Coordenadora de revisão Jaime Morelles Vázquez (UCOL) Cristina Azevedo da Silva José Otero G. (UAH) Jurema Schons (UPF) Revisora de textos Karen Beltrame Becker Fritz (UPF) Sirlete Regina da Silva Kenny Basso (IMED) Coordenadora de design Leonardo José Gil Barcellos (UPF) Rubia Bedin Rizzi Luciane Maria
    [Show full text]