Children of the Night:Ghosts

Total Page:16

File Type:pdf, Size:1020Kb

Children of the Night:Ghosts Jutrubuctien sir Snants SnaIuej For the Dungeon Master ............................................... 3 Ed Stark The Concise Ghost ...... .. ... .. .. ... .. .... ... ........ .... ... .. ... .... ..3 Biography ...... .. ..50 The Mood of Ravenloft ................................................. 4 The Beast in the Hills ................................................. 52 ;rimni@ 1Iptea Bumk aub &cffaIw Steven Brown Robert Wiese Biography .. .. ........................ 6 Biography .................................................................. 56 Gone, But Not Forgotten ................ ........................ 8 The Field of the Damned ........,: ................................... 58 qfie Gfiest Qat Qikelai Snelentfia John D. Rateliff Steve Miller and L. L. Hundal Biography .................................................................. 14 Biography ..... ... ..... ... ..:. .. .. .. .. .. .. .. .. .... ... ..... ... .. ... .... ..62 Expiation .... ,... ... ... .. .. .. .. ... .... ... ..... .. ..... ... .... ... .... .. .. ..15 Pity the Child .............................................................. 63 22IiQeIm PeIIman Bffiauua Sean K. Reynolds Miranda Horner Biography ... .. .22 Biography ....... ..... ... .... .. .. .... .. .. ... .. .. ... .. .. .... ... .... ...... ...70 A Matter Trust ... .. , . .23 of Servant of Nightmares ............................................... 71 @tsanuafiiIe$on Gfieski e€ BespitaIiQ David Wise Doug Stewart Biography .. , .. , .28 Biography .. ............................ 78 And Wilt Thou Leave Me Thus? ..........., .---.. 31 The Vengeance of Stones .......... ............................ 80 qfieeua Beboar maua UaIbersffeu Cindi Rice Dan Wenger Biography ....... .... ... .... .. ... .... .... .... .... .... .... ............... 36 Biography ... .. .. ... .84 Body and Spirit .......................................................... 37 SampleThe file Fall ofWaldershen ............................................... 86 Serb &Iexau#er om&upinof€ @hie1 Pmsteu Dale Donovan Anne Brown Biography , .42 .. .. Biography .. , ...................... 92 The Duality of Visions .......................... .................44 The Preston Hill Ghosts ............, ............................ 93 2 Sample file he Demiplane of Dread contains many he ghosts detailed within this accessory entities known as “ghosts,” “spirits,” have been created according to the “spectres,” and “haunts,” to name a few of guidelines set forth in Van Richten’s Guide the appellations. These beings exist to Ghosts. As a result, some terms and between life and death; their wispy tendrils powers must be explained. reach out to others in the hope of hurting, or helping, those they touch. Thirteen of these individuals are described within these pages. They just await a chance ma$uib#es of Power to come to life within your campaign. Each ghost in this book has been given a level of power, or magnitude. Ghosts of the first magnitude have a lesser amount of power than ghosts of the fifth magnitude, which is the highest category of power. As with the first volume of this series, Children of the Night: Ghosts attempts to provide unique ghosts that Dungeon Masters can easily introduce into their Fern of Pwied Qofl~Weuc~ campaigns. Each entry within this book can be used as Corporeal: Ghosts that are corporeal can focus their a mini-adventure for any AD&D@setting and, if the energies so that they can affect their surroundings Dungeon Master wishes, can provide a recurring ghost without becoming a part of them. character. Incorporeal: Ghosts that are incorporeal have no phys- Since it is not possible to put a fully detailed ical existence. They can pass through solid objects and adventure into six or eight pages of text, each entry are not harmed by ordinary weapons. Thus,they have a includes a full biography of the ghost and a short hard time moving or otherwise affecting solid objects. scenario that introduces the ghost to the player Mutable: Spirits of this description have the ability to characters. While the important aspects of each shift from one form to another. For example, a mutable scenario have been covered, not all of the possible ghost can shift between corporeal and incorporeal forms. outcomes can be detailed because of space Semicorporeal: Ghosts with this physical consistency considerations. are mostly incorporeal in form but have aspects that The scenarios do not always focus on laying the seem to be solid. ghost to rest. In fact, several of the ghosts are either too strong or too dedicated to be put to rest easily. As a result, these ghosts can plague or help the heroes in Basic Powers au# ‘IluIueraBiIities later adventures. SamplePains file have been taken to explain each extraordinary Although the scenarios in this book have been power that a ghost possesses under the ghost’s arranged by player character difficulty, they do not have description. However, every ghost has the same basic to be played in this order. In fact, the best way to use the powers and vulnerabilities. For ease of reference, these entries is to pepper them throughout a campaign powers and vulnerabilities are explained below. instead of playing them back to back. To use this accessory, you need the Player’s Pome@ Handbook, the DUNGEONMASTER” Guide, and Domains of Insubstantiality: All ghosts are, or can become at will, Dread. The RAVEN LO^ MONSTROUSCOMPENDIUM@ physically without form. As a result, they cannot be Appendices and Van Richten‘s Guide to Ghosts are harmed by nonmagical weapons. useful resources, but they are not required. Invisibility: Ghosts can become invisible whenever they are not attacking. Rejuvenation: To heal itself, a ghost can absorb the essence of the Ethereal Plane. However, once it has Fear, horror, and madness checks have been indicated taken on the ethereal matter, it cannot perform other in each scenario, but as always, if the players roleplay activities for a while (leaving it vulnerable). The amount their reactions accurately, these checks can be ignored. of time a ghost must rest after rejuvenating depends on If used, a player must make a fear check for his player the magnitude of the ghost. A first-magnitude ghost character whenever that character sees (and must rest for an hour while a fifth-magnitude ghost recognizes) a ghost. For further information about fear needs to rest for ten minutes. and horror checks, refer to Domains of Dread. y: Ghosts are not affected by spells not the reason it is called the Demiplane of Dread. ana magical items that affect biological processes. The Want to make a player character feel real dread? Tell following wizard spells do not affect ghosts: avoidance him he feels it! Tell him repeatedly, and seriously, until (attraction), blindness, cloudkill, contagion, deafness, he is sure it is true. Convince him that he should be very death, death fog, energy drain, finger of death, haste, afraid long before anything horrifying ever occurs. Toy hold animal, hold monster, hold person, irritation, magic with his imagination. Make the player roll saving throws jar, Otto’s irresistible dance, polymorph any object, for nothing. If he investigates anything to see if it is the polymorph others, power word blind, power word kill, cause of his discomfort, make it seem so as long as power word stun, sink, sleep, slow, and uampiric touch. possible, only to frustrate him. The following priest spells also do not affect ghosts: Take your time scaring someone; the dread will last animal growth (shrink animal), cause blindness, cause longer. deafness, cause disease, hold animal, hold person, Did You See That?: This technique is especially regenerate (wither),restoration (energy drain), and effective before the adventurers realize they are dealing speak with monsters. with a ghost. Give a single player character fleeting glimpses of the ghost at first. Make him feel like he is PoInenGiIities being watched, followed, studied. Tell him he spies Holy Water: When attacking a ghost with holy water, the movement out of the corner of his eye. Let him spot the ghost’s Armor Class always reflects its corporeal status, ghost among the distant trees, or in a reflection, or in if it has one. A ghost’s magnitude affects the amount of the coals of a camp fire, and so forth. In any case, make damage done by a vial of holy water: lst, ld10; 2nd, the player character witness the terror by himself. The ld8; 3rd, ld6; 4th, ld4; 5th, none. strategy is to emotionally isolate the character. After all, as long as the heroes have each other, there is nothing ing ’ Based on the ghost’s magnitude, a penalty is imposea on turning attempts: lst, none; 2nd, to fear! none; 3rd, -1; 4th, -2; 5th, -4. This penalty is applied to Put It In Writing: Isolation is an effective means of both the priest’s ld20 roll to see if a particular type of creating fear, and you can achieve that effect at a table ghost is turned and the roll that determines how many crowded with roleplayers by writing things down instead Hit Dice of undead creatures are affected. If the attempt of saying them. When individual characters begin to is successful but less than the amount of Hit Dice the experience things, the entire party is put in an awkward ghost possesses, the attempt fails. However, the ghost position because it usually reacts to events as a group. tack the priest in this event. Tell the players that you will award extra experience points for good roleplaying in reaction to the notes, and SYl Unless they are specific allergens, ”’ holy symbols do
Recommended publications
  • Evil Eye Belief in Turkish Culture: Myth of Evil Eye Bead
    The Turkish Online Journal of Design, Art and Communication - TOJDAC April 2016 Volume 6 Issue 2 EVIL EYE BELIEF IN TURKISH CULTURE: MYTH OF EVIL EYE BEAD Bilgen TUNCER MANZAKOĞLU [email protected] Saliha TÜRKMENOĞLU BERKAN Doğuş University, Industrial Product Design Department [email protected] ABSTRACT Evil eye belief is found in many parts of the world and it plays a major social role in a large number of cultural contexts. The history of evil eye bead usage dated back to ancient times, but upon time it’s meaning have been re-constructed by culture. This paper focused on an amulet based commodity “evil eye bead” used against evil eye and for ornament in Turkey. In order to analyze the myth of evil eye bead, two-sectioned survey was conducted. First section determined evil eye belief rate, participant profile and objects against evil eye. In the second section, the semantic dimensions of evil eye bead was analyzed in the myth level encompassing its perception and function as a cultural opponent act. This paper interrogated the role of culture, geography, and history on the evil eye bead myth. Keywords: Evil Eye Bead, Culture, Myth, Semiology. TÜRK KÜLTÜRÜNDE NAZAR İNANCI: NAZAR BONCUĞU MİTİ ÖZ Nazar inancı dünyanın bir çok bölgesinde bulunmakta ve kültürel bağlamda önemli bir sosyal rol üstlenmektedir.Nazar boncuğunun kullanımı antik zamanlara dayanmakla birlikte, taşıdığı anlam zaman içerisinde kültür ile birlikte yeniden inşa edilmiştir. Türkiye’de hem süs eşyası hem de kem göze karşı kullanılan nazar boncuğu bu makalenin ana konusudur. Nazar boncuğu mitini analiz etmek için iki aşamalı anket çalışması yürütülmüştür.
    [Show full text]
  • A Re-Examination of the Omamori Phenomenon
    The Hilltop Review Volume 7 Issue 2 Spring Article 19 April 2015 Ancient Magic and Modern Accessories: A Re-Examination of the Omamori Phenomenon Eric Mendes Follow this and additional works at: https://scholarworks.wmich.edu/hilltopreview Recommended Citation Mendes, Eric (2015) "Ancient Magic and Modern Accessories: A Re-Examination of the Omamori Phenomenon," The Hilltop Review: Vol. 7 : Iss. 2 , Article 19. Available at: https://scholarworks.wmich.edu/hilltopreview/vol7/iss2/19 This Article is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in The Hilltop Review by an authorized editor of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. 152 Ancient Magic and Modern Accessories: A Re-Examination of the Omamori Phenomenon Runner-Up, 2013 Graduate Humanities Conference By Eric Teixeira Mendes Fireworks exploded, newspapers rushed “Extra!” editions into print and Japanese exchanged “Banzai!” cheers at news of Japan`s crown princess giving birth to a girl after more than eight years of marriage… In a forestate of the special life that awaits the baby, a purple sash and an imperial samurai sword were bestowed on the 6.8 pound girl just a few hours after her birth - - along with a sacred amulet said to ward off evil spirits. The girl will be named in a ceremony Friday, after experts are consulted on a proper name for the child. (Zielenziger) This quote, which ran on December 2, 2001, in an article from the Orlando Sentinel, describes the birth of one of Japan`s most recent princesses.
    [Show full text]
  • WOT Enhance Credits.Qxd (Page 1)
    ™ WEB ENHANCEMENT Design: CHARLES RYAN, STEVEN S. LONG, Web Production: JULIA MARTIN CHRISTIAN MOORE, OWEN K.C. STEPHENS Web Development: MARK JINDRA Design Assistance: DAVID ECKELBERRY, JENNIFER CLARKE WILKES, Creative Directors: THOMAS M. REID, CORY J. HERNDON CHRISTOPHER PERKINS Development and Editing: CHARLES RYAN Visual Creative Director: JON SCHINDEHETTE Editing: JOHN D. RATELIFF, BRIAN CAMPBELL, Graphic Design: ROBERT RAPER, DEE BARNETT JENNIFER CLARKE WILKES, MIRANDA HORNER, CORY J. HERNDON Cartography: ELLISA MITCHELL Typesetting: SUE WEINLEIN COOK Licensing Approval: ROBERT JORDAN, WILLIAM P. MCDOUGAL, MARIA L. SIMONS This Wizards of the Coast game product contains no Open Game Content. No portion of this work may be reproduced in any form without written permission. To learn more about the Open Gaming License and the d20 System License, please visit www.wizards.com/d20. This d20 System game utilizes mechanics developed for the new DUNGEONS & DRAGONS® game by Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, and Peter Adkison. U.S.,CANADA, EUROPEAN HEADQUARTERS ASIA, PACIFIC & LATIN AMERICA Wizards of the Coast, Belgium Wizards of the Coast, Inc. P.B. 2031 P.O. Box 707 2600 Berchem Renton WA 98057-0707 Belgium (Questions?) 1-800-324-6496 +32-70-23-32-77 DUNGEONS &DRAGONS, the d20 system logo, and the Wizards of the Coast logo are trademarks owned by Wizards of the Coast, Inc., a subsidiary of Hasbro, Inc. Wheel of Time is a trademark of Robert Jordan. All characters, character names, and descriptions thereof are trademarks and/or copyrights of Robert Jordan. ©2001 Game Mechanic owned by Wizards of the Coast, Inc.
    [Show full text]
  • Thunder Below
    THE THUNDER BELOW An adventure for four 17th-level characters CREDITS Design: JAMES JACOBS Editor: DALE DONOVAN Editorial Assistance: MIRANDA HORNER, PENNY WILLIAMS Typesetting: NANCY WALKER Cartography: TODD GAMBLE Web Production: JULIA MARTIN Web Development: MARK A. JINDRA Graphic Design: SEAN GLENN, CYNTHIA FLIEGE Based on the original DUNGEONS & DRAGONS® game by E. Gary Gygax and Dave Arneson and on the new edition of the DUNGEONS & DRAGONS game designed by Jonathan Tweet, Monte Cook, Skip Williams, Rich Baker, and Peter Adkison. Table of Contents Introduction ..................................................................2 Sarwin Castle ..............................................................19 Preparation ...................................................................2 Timeline ..................................................................19 Adventure Background .................................................2 The Invaders of Sarwin Castle ...............................21 Adventure Synopsis ......................................................4 Tiboquoboc..............................................................21 Starting the Adventure ................................................4 Alraugh ....................................................................24 Sarwin Village ...............................................................5 Irika .........................................................................26 Searching the Village ................................................5 Muraxus ..................................................................27
    [Show full text]
  • Savage Coast Campaign Book
    Savage Coast Campaign Book Credits Design: Tim Beach and Bruce Heard Additional Design: David Gross, Cindi M. Rice, and Ed Stark Editing: Cindi M. Rice Editorial Assistance: Tony Bryant, Jonatha Ariadne Caspian, and Lester Smith Project Coordination: Karen S. Boomgarden Art Coordination: Bob Galica Cover Painting: Paul Jaquays Cartography: John Knecht and Diesel Graphic Design: Heather Le May Based in part on the "Princess Ark" series by Bruce Heard and partially derived from the work of Merle and Jackie Rasmussen. Playtesting and Review: Many people at WarCon, Hurricon, and Concentric; Carrie A. Bebris; Anne Brown; Steven Brown; Bruce Cordell; Miranda Horner; Mike Huebbe; Kevin Melka; Sean Reynolds; and Ed Stark Special Thanks to the following, without whom this would have been a lesser product: Rich Baker, Wolfgang Baur, Tim Brown, Angela Clay, William W. Connors, David "Zeb" Cook, Patty Corbett, Flint Dille, Dan Donelly (and the Society of the Grand Gauche), Cathy Griffin, David Gross, Jeff Grubb, Andria Hayday, Bruce Heard, Dori Hein, Gordon Hookailo, Gwendolyn Kestrel, Brad Lavendar, Julia Martin, Colin McComb, Dominic Messinger, Bruce Nesmith, Faith Price, John Rateliff, Thomas Reid, Marshall Simpson, Bill Slavicsek, Lester Smith, Dave Sutherland, Audra Timmer, Sue Weinlein, Skip Williams, David Wise, and Phi Mu Alpha Sinfonia (especially John Cereso and Ky Hascall) Copyright © 1996 TSR, Inc. All Rights Reserved. Made in the U.S.A. ADVANCED DUNGEONS & DRAGONS, AD&D, DUNGEONS & DRAGONS, D&D, DRAGON, DUNGEON MASTER, AD&D, MYSTARA, MONSTROUS COMPENDIUM, and RED STEEL are registered trademarks owned by TSR, Inc. MONSTROUS MANUAL, SAVAGE COAST, and the TSR logo are trademarks owned by TSR, Inc.
    [Show full text]
  • THAI CHARMS and AMULETS by Q>Hya Anuman Cflajadhon Acting President, Royal Lnstitztte
    THAI CHARMS AND AMULETS by q>hya Anuman Cflajadhon Acting President, Royal lnstitztte Tbe belief in and use of charms and amulets as magical protec­ tion against dangers and misfortunes, and also to bring love, luck and power is a world-wide one. It is not confined to primitive races on! y, but also to be found among modern peoples of every nation and faith. In fact "the thought and practice of civilized peoples can not be cut off as with a knife from the underlying customs and beliefs which have played a determining part in shaping the resulting products, however much subsequent knowledge and ethical evaluation may have modified and transformed the earlier notions". 1 For this reason, every faith and religion has in one form or another certain cui ts and formulas, as inherited from the dim past and handed down from generation to generation, from the old belief of magic and superstition, which are paradoxically contrary to the real teaching of the religion's founder. This is inevitable; for the mass of humanity that forms the woof and warp of the woven fabric of faith of the great religions, is composed of many levels of culture. A.B. Griswold says in his "Doctrines and Reminders of Theravada Buddhism" that "within the Theravada there are two very different sorts of Buddhist­ rationalists and pious believers."2 This may be applied equally to other religions: there are always implicitly two sorts of believers within the same religion, the intellectuals and the pious people. It is with the latter that one can :find abundant phenomena of charms and amulets in belief and practice.
    [Show full text]
  • Ancient Magic and Modern Accessories: Developments in the Omamori Phenomenon
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-2015 Ancient Magic and Modern Accessories: Developments in the Omamori Phenomenon Eric Teixeira Mendes Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Asian History Commons, Buddhist Studies Commons, and the History of Religions of Eastern Origins Commons Recommended Citation Mendes, Eric Teixeira, "Ancient Magic and Modern Accessories: Developments in the Omamori Phenomenon" (2015). Master's Theses. 626. https://scholarworks.wmich.edu/masters_theses/626 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. ANCIENT MAGIC AND MODERN ACCESSORIES: DEVELOPMENTS IN THE OMAMORI PHENOMENON by Eric Teixeira Mendes A thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree of Master of Arts Comparative Religion Western Michigan University August 2015 Thesis Committee: Stephen Covell, Ph.D., Chair LouAnn Wurst, Ph.D. Brian C. Wilson, Ph.D. ANCIENT MAGIC AND MODERN ACCESSORIES: DEVELOPMENTS IN THE OMAMORI PHENOMENON Eric Teixeira Mendes, M.A. Western Michigan University, 2015 This thesis offers an examination of modern Japanese amulets, called omamori, distributed by Buddhist temples and Shinto shrines throughout Japan. As amulets, these objects are meant to be carried by a person at all times in which they wish to receive the benefits that an omamori is said to offer. In modern times, in addition to being a religious object, these amulets have become accessories for cell-phones, bags, purses, and automobiles.
    [Show full text]
  • Tomb of Horrors | Dungeons & Dragons
    TOMB OF HORRORS™ ROLEPLAYING GAME ADVENTURE Ari Marmell • Scott Fitzgerald Gray CRED1TS Design Art Director Ari Marmell (lead), Scott Fitzgerald Gray Mari Kolkowsky Development Cover Illustration Stephen Radney­MacFarland (lead), Ralph Horsley Stephen Schubert Graphic Designers Editing Keven Smith, Emi Tanji Cal Moore (lead), Miranda Horner Additional Graphic Design Managing Editing leon Cortez Kim Mohan Interior Illustrations Director of D&D R&D and Book Publishing Kerem Beyit, Zoltan Boros & Gabor Szikszai, Bill Siavicsek Nicole Cardiff, Vincent Dutrait, Steve Ellis, Jason A_ Engle, Warren Mahy, Vincent Proce, D&D Creative Manager Franz Vohwinkel Christopher Perkins Cartographer D&D Design Manager Jason A. Engle James Wyatt Publishing Production Specialist D&D Development and Editing Manager Erin Dorries Andy Collins Prepress Manager D&D Senior Creative Art Director Jefferson Dunlap Jon Schindehette Imaging Technician Carmen Cheung Production Manager Cynda Callaway Game rules based on the original DUNGEONS & DRAGONS" rules created by E. Gary Gygax and Dave Arneson, and the later editions by David "Zeb" Cook (2nd Edition);Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, and Peter Adkison (3rd Edition); and Rob Heinsoo, Andy Collins, and James Wyatt (4th Edition). 620·25385000­001 EN U.S., CANADA, ASIA, PACIFIC , EUROPEAN HEADQUARTERS WIZARDS OF THE COAST, BELGIUM 987654321 & LATIN AMERICA Hasbro UK Ltd Industrialaan 1 Fi rst Printing: Wizards ofthe Coast LLC Caswell Way 1702 Groot­Bijgaardcn P.O. Box 707 Newport, Gwent NP9 OYH
    [Show full text]
  • MAGICAL AMULETS in Thai Culture
    MAGICAL AMULETS In Thai culture By Chris Jones of Thai-amulets.com There are four types of magical amulets in Thai culture. The term to describe these amulets as a whole is khawng-khlang, which may be translated as 'sacred, potent objects.' The first type is the khruang-rang, which means material substances transformed into stone or copper. These amulets will protect people if they are held in the mouth or on the body. They include khot, which are stones found in nature such as stone eggs or meteoric ores and various types of seeds found in jack-fruit and tamarind plants. These amulets are used mostly by poor people, since they depend upon being found freely rather than having to be bought. The second type is the phra-khruang, which are small statues or figurines of the Buddha which also protect the person or, if larger, a household. They may be cast from a mould or else be in the form of a votive tablet. These may be used to complete a vow – i.e. to thank the Buddha for a blessing – or else as a talisman carried around the neck. The third type is the khruang-pluk-sek. Pluk-sek means 'to arouse the potency of a person or object by means of a spell or incantation' so a khruang-pluk-sek is a more powerful form of amulet. Most of the spells used are incantations based on ancient Sanskrit verses – Sanskrit is known as Pali in Thailand. When the spells call for being written down, the Khmer (Cambodian) alphabet is used rather than Thai which is not considered to be suitable for magic.Khmer characters are believed to have runic qualities.
    [Show full text]
  • Dragon Magazine #248
    DRAGONS Features The Missing Dragons Richard Lloyd A classic article returns with three new dragons for the AD&D® game. Departments 26 56 Wyrms of the North Ed Greenwood The evil woman Morna Auguth is now The Moor Building a Better Dragon Dragon. Paul Fraser Teaching an old dragon new tricks 74Arcane Lore is as easy as perusing this menu. Robert S. Mullin For priestly 34 dragons ... Dragon Dweomers III. Dragon’s Bestiary 80 Gregory W. Detwiler These Crystal Confusion creatures are the distant Dragon-Kin. Holly Ingraham Everythingand we mean everything 88 Dungeon Mastery youll ever need to know about gems. Rob Daviau If youre stumped for an adventure idea, find one In the News. 40 92Contest Winners Thomas S. Roberts The winners are revealed in Ecology of a Spell The Dragon of Vstaive Peak Design Contest. Ed Stark Columns Theres no exagerration when Vore Lekiniskiy THE WYRMS TURN .............. 4 is called a mountain of a dragon. D-MAIL ....................... 6 50 FORUM ........................ 10 SAGE ADVICE ................... 18 OUT OF CHARACTER ............. 24 Fiction BOOKWYRMs ................... 70 The Quest for Steel CONVENTION CALENDAR .......... 98 Ben Bova DRAGONMIRTH ............... 100 Orion must help a young king find both ROLEPLAYING REVIEWS .......... 104 a weapon and his own courage. KNIGHTS OF THE DINNER TABLE ... 114 TSR PREVIEWS ................. 116 62 PROFILES ..................... 120 Staff Publisher Wendy Noritake Executive Editor Pierce Watters Production Manager John Dunn Editor Dave Gross Art Director Larry Smith Associate Editor Chris Perkins Editorial Assistant Jesse Decker Advertising Sales Manager Bob Henning Advertising Traffic Manager Judy Smitha On the Cover Fred Fields blends fantasy with science fiction in this month's anniversary cover.
    [Show full text]
  • Fiendish Aspects Full
    INTRODUCTION Got demons? Well, you will if you pick up a copy of Fiendish Codex I: Hordes of the Abyss, which is packed full of information on demons and demon lords and how to use all this nastiness in your campaign. The chapter on demon lords mentions aspects of the demon lords as more common foes than the demon lords themselves, FIENDISH but few aspects are presented in the book since the ASPECTS designers put so many other useful things in that tome. Well, that is where this little guide comes in. In A Web Enhancement for Fiendish this combined edition of Fiendish Aspects, you’ll meet eleven aspects of demon lords, all suitable for mid- Codex I: Hordes of the Abyss level campaigns. Several of the demon lords could have aspects that are different than the ones you see here, because an aspect is one facet of a demon lord CREDITS rather than a lesser version of the whole package. If Design: Robert Wiese you don’t like the aspect presented here for your Editing: Miranda Horner demon lord of choice, choose a different “view” of the Typesetting: Nancy Walker demon lord and make your own. For example, Juiblex Web Production Bart Carroll has a few combat tricks, plus a few spell-like and ooze- Web Development: Mark A. Jindra related powers. If you want a more oozy aspect of Graphic Design: Sean Glenn, Cynthia Fliege Juiblex, take away the grappling and constriction & Jen Page powers and give it the create slime and summon ooze Special T h a n k s : Michael Donais, Skaff Elias, Rob abilities.
    [Show full text]
  • The Cultural Significance of Precious Stones in Early Modern England
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, & Student Research, Department of History History, Department of 6-2011 The Cultural Significance of Precious Stones in Early Modern England Cassandra Auble University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/historydiss Part of the Cultural History Commons, European History Commons, and the History of Gender Commons Auble, Cassandra, "The Cultural Significance of Precious Stones in Early Modern England" (2011). Dissertations, Theses, & Student Research, Department of History. 39. https://digitalcommons.unl.edu/historydiss/39 This Article is brought to you for free and open access by the History, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, & Student Research, Department of History by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE CULTURAL SIGNIFICANCE OF PRECIOUS STONES IN EARLY MODERN ENGLAND by Cassandra J. Auble A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: History Under the Supervision of Professor Carole Levin Lincoln, Nebraska June, 2011 THE CULTURAL SIGNIFICANCE OF PRECIOUS STONES IN EARLY MODERN ENGLAND Cassandra J. Auble, M.A. University of Nebraska, 2011 Adviser: Carole Levin Sixteenth and seventeenth century sources reveal that precious stones served a number of important functions in Elizabethan and early Stuart society. The beauty and rarity of certain precious stones made them ideal additions to fashion and dress of the day. These stones also served political purposes when flaunted as examples of a country‘s wealth, bestowed as favors, or even worn as a show of royal support.
    [Show full text]