REIGN Or Exalted Intellectual Properties
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SILVER AGE SENTINELS (D20)
Talking Up Our Products With the weekly influx of new roleplaying titles, it’s almost impossible to keep track of every product in every RPG line in the adventure games industry. To help you organize our titles and to aid customers in finding information about their favorite products, we’ve designed a set of point-of-purchase dividers. These hard-plastic cards are much like the category dividers often used in music stores, but they’re specially designed as a marketing tool for hobby stores. Each card features the name of one of our RPG lines printed prominently at the top, and goes on to give basic information on the mechanics and setting of the game, special features that distinguish it from other RPGs, and the most popular and useful supplements available. The dividers promote the sale of backlist items as well as new products, since they help customers identify the titles they need most and remind buyers to keep them in stock. Our dividers can be placed in many ways. These are just a few of the ideas we’ve come up with: •A divider can be placed inside the front cover or behind the newest release in a line if the book is displayed full-face on a tilted backboard or book prop. Since the cards 1 are 11 /2 inches tall, the line’s title will be visible within or in back of the book. When a customer picks the RPG up to page through it, the informational text is uncovered. The card also works as a restocking reminder when the book sells. -
An Adventure for Exalted Using the Storytelling Adventure System
It is better for a city to be governed by a good man than by good laws. – Aristotle An adventure for Exalted using the Storytelling Adventure System Written by Adam Eichelberger Developed by Eddy Webb Edited by Genevieve Podleski Layout by Jessica Mullins Art: Justin Norman, Andy Brase, Ross Campbell, Andie Tong, Shane Coppage, Pop Mhan, Eva Widermann, Brandon Graham, Melissa Uran, UDON, and Imaginary Friends Studio STORYTELLING ADVENTURE SYSTEM White Wolf Publishing, Inc. MENTAL OOOOO 2075 West Park Place Blvd PHYSICAL OOOOO Suite G Stone Mountain, GA 30087 SOCIAL OOOOO It is better for a city to be governed by a good man than by good laws. – Aristotle An adventure for Exalted using the Storytelling Adventure System Written by Adam Eichelberger Developed by Eddy Webb Edited by Genevieve Podleski Layout by Jessica Mullins STORYTELLING ADVENTURE SYSTEM Art: Justin Norman, Andy Brase, Ross Campbell, Andie Tong, Shane Coppage, Pop Mhan, Eva Widermann, Brandon Gra- SCENES MENTAL OOOOO XP LEVEL ham, Melissa Uran, UDON, and Imaginary Friends Studio PHYSICAL OOOOO 14 SOCIAL OOOOO o-34 White Wolf Publishing, Inc. © 2008 CCP hf. All rights reserved. Reproduction without the written permission of the publisher is expressly forbidden, except for the purposes of reviews, and one printed copy which may be reproduced for personal use only. White Wolf, Vampire and World of Darkness are registered trademarks of CCP hf. All rights reserved. Vampire the Requiem, Werewolf the Forsaken, Mage the Awakening, Promethean the Created, Storytelling System and Parlor Games are trademarks of CCP hf. All rights reserved. 2075 West Park Place Blvd All characters, names, places and text herein are copyrighted by CCP hf. -
The Child and the Fairy Tale: the Psychological Perspective of Children’S Literature
International Journal of Languages, Literature and Linguistics, Vol. 2, No. 4, December 2016 The Child and the Fairy Tale: The Psychological Perspective of Children’s Literature Koutsompou Violetta-Eirini (Irene) given that their experience is more limited, since children fail Abstract—Once upon a time…Magic slippers, dwarfs, glass to understand some concepts because of their complexity. For coffins, witches who live in the woods, evil stepmothers and this reason, the expressions should be simpler, both in princesses with swan wings, popular stories we’ve all heard and language and format. The stories have an immediacy, much of we have all grown with, repeated time and time again. So, the the digressions are avoided and the relationship governing the main aim of this article is on the theoretical implications of fairy acting persons with the action is quite evident. The tales as well as the meaning and importance of fairy tales on the emotional development of the child. Fairy tales have immense relationships that govern the acting persons, whether these are psychological meaning for children of all ages. They talk to the acting or situational subjects or values are also more children, they guide and assist children in coming to grips with distinct. Children prefer the literal discourse more than adults, issues from real, everyday life. Here, there have been given while they are more receptive and prone to imaginary general information concerning the role and importance of fairy situations. Having found that there are distinctive features in tales in both pedagogical and psychological dimensions. books for children, Peter Hunt [2] concludes that textual Index Terms—Children, development, everyday issues, fairy features are unreliable. -
The Seven Pillars of Storytelling
BOOKS The Seven Pillars of Storytelling Ffion Lindsay Copyright © 2015 Sparkol All rights reserved Published by: Sparkol Books Published: December 2015 Illustrations: Ben Binney Sparkol Books Bristol, UK http://sparkol.com/books Keep this book free We’ve written this book to help you engage your audience through storytelling. Sharing it with just one other person spreads the word and helps us to keep it free. Thank you for clicking. Tweet Facebook G+ Pin it Scoop it LinkedIn Foreword If I were an architect designing a building I would look to nature – to the great creator, to God, if you like – for structures and principles, for design and style, for strength and beauty and for methods that have evolved over time. As communicators, we can do the same. In this book reams of theory has been distilled into practical, simple tools for understanding and applying the power of story. Ever thought why as evolved beings we don’t have more useful dreams at night? Why no one dreams in bullet points? Why the film industry is so large? Or why the gaming industry – which loves narrative based games – is even larger? Why we paint the day in stories, not facts, when we come home to our families? In the Middle East, centuries ago, a bearded man, a familiar boy who’d grown and looked like any other, trained in his father’s humble profession, stepped out on to a mountain and delivered simple stories that have been repeated ever since. Jesus, for me the most effective communicator there ever was, used parables. -
MARCH 1St 2018
March 1st We love you, Archivist! MARCH 1st 2018 Attention PDF authors and publishers: Da Archive runs on your tolerance. If you want your product removed from this list, just tell us and it will not be included. This is a compilation of pdf share threads since 2015 and the rpg generals threads. Some things are from even earlier, like Lotsastuff’s collection. Thanks Lotsastuff, your pdf was inspirational. And all the Awesome Pioneer Dudes who built the foundations. Many of their names are still in the Big Collections A THOUSAND THANK YOUS to the Anon Brigade, who do all the digging, loading, and posting. Especially those elite commandos, the Nametag Legionaires, who selflessly achieve the improbable. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – The New Big Dog on the Block is Da Curated Archive. It probably has what you are looking for, so you might want to look there first. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – Don't think of this as a library index, think of it as Portobello Road in London, filled with bookstores and little street market booths and you have to talk to each shopkeeper. It has been cleaned up some, labeled poorly, and shuffled about a little to perhaps be more useful. There are links to ~16,000 pdfs. Don't be intimidated, some are duplicates. Go get a coffee and browse. Some links are encoded without a hyperlink to restrict spiderbot activity. You will have to complete the link. Sorry for the inconvenience. Others are encoded but have a working hyperlink underneath. Some are Spoonerisms or even written backwards, Enjoy! ss, @SS or $$ is Send Spaace, m3g@ is Megaa, <d0t> is a period or dot as in dot com, etc. -
Charming the Prince Free Ebook
FREECHARMING THE PRINCE EBOOK Teresa Medeiros | 352 pages | 01 May 2004 | Bantam Doubleday Dell Publishing Group Inc | 9780553575026 | English | New York, United States THE PRINCE CHARMING EXPERIENCE - Alopecia, Hair Loss, Hair Growth Goodreads helps Charming the Prince keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Charming the Prince by Teresa Medeiros. He never lost Charming the Prince battle until he met the one woman who might succeed in Charming the Prince. Never in my life have I backed down from any challenge or betrayed so much as a hint of fear—until the war ended and I found myself a reluctant papa to Charming the Prince dozen unruly children. Rea He never lost a battle until he met the one woman who might succeed in Realizing that I couldn't lop their little heads off or throw them in the Charming the Prince, I sent my steward out to find them a mother and me a bride—an attractive, meek, maternal creature too plain to tempt me to get her with child. You can imagine my horror when he returned with Lady Willow of Bedlington, a spirited beauty who made me think of Charming the Prince else! With her cloud of dark curls and the sparkle Charming the Prince passion in her eyes, Willow was everything I'd sworn to resist. -
Character Roles in the Estonian Versions of the Dragon Slayer (At 300)
“THE THREE SUITORS OF THE KING’S DAUGHTER”: CHARACTER ROLES IN THE ESTONIAN VERSIONS OF THE DRAGON SLAYER (AT 300) Risto Järv The first fairy tale type (AT 300) in the Aarne-Thompson type in- dex, the fight of a hero with the mythical dragon, has provided material for both the sacred as well as the profane kind of fabulated stories, for myth as well as fairy tale. The myth of dragon-slaying can be met in all mythologies in which the dragon appears as an independent being. By killing the dragon the hero frees the water it has swallowed, gets hold of a treasure it has guarded, or frees a person, who in most cases is a young maiden that has been kidnapped (MNM: 394). Lutz Rörich (1981: 788) has noted that dragon slaying often marks a certain liminal situation – the creation of an order (a city, a state, an epoch or a religion) or the ending of something. The dragon’s appearance at the beginning or end of the sacral nar- rative, as well as its dimensions ‘that surpass everything’ show that it is located at an utmost limit and that a fight with it is a fight in the superlative. Thus, fighting the dragon can signify a universal general principle, the overcoming of anything evil by anything good. In Christianity the defeating of the dragon came to symbolize the overcoming of paganism and was employed in saint legends. The honour of defeating the dragon has been attributed to more than sixty different Catholic saints. In the Christian canon it was St. -
The Heroic Fairy Tale Villain
The Heroic Fairy Tale Villain Application of Vladimir Propp’s formalist schema to the creation of a revisionist cinematic fairy tale in which the traditional villain is transformed into an anti-hero. Scott Hamilton B.E., Dip. Film & Television Production. Submitted in fulfilment of the requirements for the degree of Master of Fine Arts (Research). School of Creative Practice Faculty of Creative Industries, Education and Social Justice Queensland University of Technology 2021 Keywords Screenwriting, screenplay structure, feature film, revisionist fairy tale, character, archetype, hero, anti-hero, villain, protagonist, antagonist. i Abstract Recent trends in the Hollywood film industry have seen a rise in revisionist fairy tale films in which the traditional literary story villain has been transformed into a cinematic anti-hero. Although many of these commercial blockbuster films have been financially successful at the box office, they are often criticised for their reliance on the Hero’s Journey structural approach of Christopher Vogler, which is a mainstay in Hollywood hero-origin style narratives. This creative practice-led research analyses this character transformation construct and addresses this criticism by formulating a new approach to screenplay structure. This is achieved by utilising the formalist schema of literary Russian fairy tales outlined by Vladimir Propp in Morphology of the Folktale—which has thus far primarily been used within Film Studies academia as an analysis tool of pre-existing film texts and not as a screenplay development tool—and mapping it to Syd Field’s three-act structural paradigm, which is the dominant narrative structure in mainstream Hollywood cinema. Transformation of the villain to anti-hero and application of this new structural approach was used in the writing of this exegesis’ creative work The Devil’s Symphony, a feature-length dramatic screenplay based on the fairy tale The Pied Piper of Hamelin. -
The Dramatis Personae in Disney's Beauty and The
THE DRAMATIS PERSONAE IN DISNEY’S BEAUTY AND THE BEAST FAIRY TALE BASED ON VLADIMIR PROPP’S THEORY A Thesis In Partial Fulfilment of the Requirements For The Sarjana Degree Majoring American Cultural Studies in English Department Faculty of Humanities Diponegoro University Submitted by: MARWA WULANSARI NIM: 13020114120004 FACULTY OF HUMANITIES DIPONEGORO UNIVERSITY SEMARANG 2018 PRONOUNCEMENT The writer honestly confirms that she compiles the thesis by herself and without taking any results form other researchers in S-1, S-2, S-3 and in diploma degree of any university. The writer ascertains also that she does not quote any material from other publications or someone’s paper except from the references mentioned. Semarang, 30 May 2018 Marwa Wulansari MOTTO AND DEDICATION Whatever you love most in life is your Master as simple as that. Yasmin Mogahed This paper is dedicated to my beloved family, everyone who helped me accompanished this paper and the readers who are interested in children literature especially fairy tales. APPROVAL THE DRAMATIS PERSONAE IN DISNEY’S BEAUTY AND THE BEAST FAIRY TALE BASED ON VLADIMIR PROPP’S THEORY Written by Marwa Wulansari NIM: 13020114120004 Is approved by the thesis advisor On 30 May 2018 Thesis Advisor Retno Wulandari, S.S., MA NIP. 197505252005012002 The Head of the English Department Dr. Agus Subiyanto, M.A NIP. 196408141990011001 VALIDATION Approved by Strata 1 Thesis Examination Committee Faculty of Humanities Diponegoro University On 25 June 2018 Chair Person First Member Arido Laksono, S.S, M.Hum Rifka Pratama, S. Hum., M.A NIP. 197507111999031002 NIP. 199004280115111092 Second Member Third Member Prof. -
MORPHOLOGY of the FOLI(TALE
MORPHOLOGY of the FOLI(TALE by V. PROPP FIRST EDITION TRANSLATED BY LAURENCE SCOTT WITH AN INTRODUCTION BY SVATAVA PIRKOVA-JAKOBSON SECOND EDITION REVISED AND EDITED WITH A PREFACE BY LOUIS A. WAGNER NEW INTRODUCTION BY ALAN DUNDES Published for The American Folklore Society, Inc., and the Indiana University Research Center for the Language Sciences UNIVERSITY OF TEXAS PRESS, AUSTIN & LONDON ••- 'll!.o.--""' 18 MORPHOLOGY OF THE FOLKTALE wide Tale in a 'Interpretation"] (Russkaja Mysl', 1893, XI); R.__ Marche_n: und Volkslieder (Berlin, 1894); M. G. Xalan- skiJ, [ m lstort]a russkpj literatury pod redakciej Anickova z_ Vol. I, Fasc. 2. chap. 6 (Moscow, 1908): A_· Thunme, ?as Mari!hen (Leipzig; 1909); A. Van Gennep, La formation de; legendes (Pans, 1910); F. v.d. Leyen, Das Miirchen 2nd ed (1917)· K sp· CHAPTER II "Das d eu t sch e vo lk smarc·· h en," in Aus Natur und Geisteswelt' · Fasc 587• ·(L · 1ess,· and B err m, 1917) ; S. F . 01 'den burg, "Stranstvovanie skazki" ' ["The. W deipzig · of the Tale"] in Vostok, no. 4; G. Huet, Les contes populaires (Paris, The Method and Material Let us first of all attempt to formulate our task. As already stated in the foreword, this work is dedicated to the study of fairy tales. The existence of fairy tales as a_special class is as- sumed as an essential working hypothesis,/By "fairy tales" are meant at those tales classified by Aarne under numbers 300 to 749.1 Jrhis definition is artificial, but the occasion will subseqti@htfy arise to give a more precise determination on the basis of resultant co···nclu.sions\We are undertaking a comparison k of the themes of these tales. -
An Analysis of Narrative-Based Educational Software
AN ANALYSIS OF NARRATIVE-BASED EDUCATIONAL SOFTWARE by DAVID NOAH (Under the direction of Lloyd Rieber) ABSTRACT Instructional designers often rely on stories to structure interactive learning environments. There is little evidence that they bring contemporary critical theory to these designs, especially as it pertains to the narratological implications of a hypermedia environment. The use of stories in these designs raises issues about the relationship between learning, interactivity, and story. Interactivity undermines traditional narrative structures, diminishing their power as structural agents. However, it also creates constructivist affordances for the instructional designer. How are designers resolving this conflict? How are they using story? This research study examines the use of story and instructional design in selected educational CD-ROMs. The works of Propp, Campbell, and Gagne are used as models for the analysis of the stories and instructional events. The results indicate that instructional presentation in narrative environments is usually sequestered from the main narrative, though there is some relation between story elements and instructional design. The designers do use story to engage learner attention, though there is little consistent correlation with the story models chosen for this research. Character transformation, important in narrative, is not addressed in the software. Simulations offer the most integrated approach to story and instruction, but at the cost of traditional story models. I conclude that story and instruction are largely incommensurable when instantiated within a hypermedia environment. Instruction is transparent in the sense that we go to it in order to get something else: learning. On the other hand, story is opaque in the sense that it is an end in itself. -
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9th International Conference on Public Communication of Science and Technology (PCST) Seoul, South Korea, 17-19 May 2006 WHAT MAKES A STORY AN INTERESTING WAY TO COMMUNICATE SCIENCE Aquiles Negrete Instituto Tecnológico y de Estudios Superiores de Monterrey (ITESM), México Abstract I conducted an experiment to explore the capabilities of narratives (short stories) to convey and preserve scientific information. The study consisted on a critical analysis of two short stories (Nitrogen by Primo Levi and The Crabs take Over the Island by Anatoly Dnieprov) to examine narrative structures and literary devices included in these texts. Following Propp’s narrative analysis, I looked at characters, spheres of action and narrative functions. The functions and spheres of action proposed by Propp provided me the basis to contrast the stimulus narratives (short stories) with the reproductions of these narratives performed by the participants in the experiment. The results suggest that there is a relationship between how central the scientific information is to the development of the story and how memorable it becomes. In other words, the closer the scientific information moves to the important moments in the narration (e.g., revelations, peripetia, anagnorisis, outcome, central functions, spheres of action and literary tropes), the more likely it is to succeed in communicating and making such scientific knowledge memorable. Keywords: Science and narratives, stories, science communication 1. Introduction The word ‘story’, even today, carries certain connotations of falsehood or misrepresentation, as in the expression, ‘that is only a story’. Poetry, drama, and storied narrative were considered unable to convey true knowledge. Instead, they were limited to communicating and generating emotional experiences, and, because of this, were seen as misleading vehicles for the transmission and representation of information.