Shadows Over Camelot
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Shadows over Camelot FAQ 1.0 Oct 12, 2005 The following FAQ lists some of the most frequently asked questions surrounding the Shadows over Camelot boardgame. This list will be revised and expanded by the Authors as required. Many of the points below are simply a repetition of some easily overlooked rules, while a few others offer clarifications or provide a definitive interpretation of rules. For your convenience, they have been regrouped and classified by general subject. I. The Heroic Actions A Knight may only do multiple actions during his turn if each of these actions is of a DIFFERENT nature. For memory, the 5 possible action types are: A. Moving to a new place B. Performing a Quest-specific action C. Playing a Special White card D. Healing yourself E. Accusing another Knight of being the Traitor. Example: It is Sir Tristan's turn, and he is on the Black Knight Quest. He plays the last Fight card required to end the Quest (action of type B). He thus automatically returns to Camelot at no cost. This move does not count as an action, since it was automatically triggered by the completion of the Quest. Once in Camelot, Tristan will neither be able to draw White cards nor fight the Siege Engines, if he chooses to perform a second Heroic Action. This is because this would be a second Quest-specific (Action of type B) action! On the other hand, he could immediately move to another new Quest (because he hasn't chosen a Move action (Action of type A.) yet. -
ACROSS LANDS FORLORN: the EPIC JOURNEY of the HERO, from HOMER to CHANDLER Volume One Sergio Sergi
ACROSS LANDS FORLORN: THE EPIC JOURNEY OF THE HERO, FROM HOMER TO CHANDLER Volume One Sergio Sergi ACROSS LANDS FORLORN: THE EPIC JOURNEY OF THE HERO, FROM HOMER TO CHANDLER. SERGIO SERGI B.A. University of Adelaide M.A. University of Ottawa M.A University of Sydney A thesis submitted for the Degree of Doctor of Philosophy University of Canberra. March 2006 i Certificate of authorship of thesis. Except where clearly acknowledged in footnotes, quotations and the bibliography, I certify that I am the sole author of the thesis submitted today entitled ‘Across lands forlorn: The epic journey of the hero from Homer to Chandler.’ I further certify that to the best of my knowledge the thesis contains no material previously published or written by another person except where due reference is made in the text of the thesis. The material in this thesis has not been the basis of an award of any other degree or diploma except where due reference is made in the text of the thesis. This thesis complies with University requirements for a thesis as set out in http://www.canberra.edu.au/secretariat/goldbook/forms/thesisrqmt. pdf …………………………. Signature of Candidate …………………………. Signature of Chair of the supervisory panel Date: ……………………………. Acknowledgements I acknowledge a number of people who have helped with the realization of this thesis which was begun at the University of New England. Professor Peter Toohey, before he left that University, listened to my ideas about the hero and encouraged me to develop them into this thesis. I am most grateful to him for the confidence he placed in my abilities to conduct a complex study. -
Shadows Over Camelot Rules Summary V2
SUPPORT THE EOG BY BECOMING AN OFFICIAL MEMBER SIGN UP AT ORDEROFGAMERS.COM The Esoteric Order of Gamers orderofgamers.com High quality materials for the dedicated devotee of immersive, thematic tabletop games. Game rules summaries, foamcore box plans, articles, interviews, reviews, videos, tutorials, forums – and lots more. @EOGamers gplus.to/EOGamers facebook.com/EOGamers EsotericOrderGamers instagram.com/orderofgamers v2 May 2011 Game: SHADOWS OVER CAMELOT Publisher: Days of Wonder (2005) Page 1: Rules summary Page 1: Rules summary Merlin’s Company Print on card (ensure you are printing at 100% scale) laminate and trim to size. These sheets are intended only for the personal use of existing owners of the game for additional reference. Universal Head makes no claim whatsoever to the rights of the publisher and copyright holder, and does not benefit financially from these player aids. Artwork from the original game is copyrighted by the publisher and used without permission. This PDF may not be re-posted online, sold or used in any way except for personal use. Setup Progression of Evil Quests Set up the boards (for the Lancelot and Dragon Draw a Black Card You must play specific combinations of cards to win board, Lancelot’s side is faceup) and place the Relic Draw the top card, read it aloud and apply its effect. Combat Quests. If a Solo Quest is abandoned all miniatures on their respective boards. White cards played so far are discarded. A Special Black card can be cancelled if you and/ Each player randomly takes a Coat of Arms and or your fellow Knights collectively play 3 Merlin cards. -
The Book of Quests
THE BOOK OF QUESTS uests are the driving force in the life of every noble Knight. So it should Qbe no surprise to find Quests at the very heart of Shadows over Camelot. While the content of the Rules Booklet should be familiar to every aspiring Knight, the Book of Quests is primarily a reference, written for inquisitive Knights in search of insight, or the scheming Traitor looking for a lethal edge. In the back of this book you will find two appendices. The first, unearthed from , old manuscripts, offers a glimpse of each Knight s personality. The second is a detailed manifest of each card used in the game. In this booklet, page numbers given in reference point to the corresponding entries in the Rules booklet, unless indicated otherwise. nnnnnnnnnn THE QUESTS nnnnnnnnnn There are several “Standard” Quests in Camelot’s immediate vicinity: N The Tournament against the Black Knight N The Quest for Lancelot N The Dragon’s Quest N The Quest for Excalibur N The Quest for the Holy Grail N The Pict and Saxon Wars each with its own entry in the Book of Quests. For each Quest won or lost, new Swords are laid onto the Round Table. As the game progresses, the Swords show which side currently has the advantage. There are also two “Special” Quests within Camelot proper, where a defeat spells immediate doom for the Loyal Knights: • The Siege of Camelot, which is lost if 12 Siege Engines ever surround Camelot; • and The Quest of the Round Table, where the outcome of the game is decided in favor of whichever color Swords have the majority, once 12 or more have been laid down. -
Friday, 28-07-2017
Friday, 28.07.2017 09:00-10:30 Artusrezeption in Spätmittelalter und Früher Neuzeit Head: Mathias Herweg Room 2 Unsere Sektion zum Rahmenthema "Nachmittelalterlicher Artus: Druck und andere Medien" befasst sich mit dem Weiterleben des Artusstoffs und der Artusfiguren im Spätmittelalter und der Frühen Neuzeit. Das Spektrum reicht vom 13. bis zum 16. Jahrhundert (mit einem Schwerpunkt im 15./16. Jh.) und deckt die deutsche, französische, italienische und niederländische Literatur ab. Beleuchtet wird einerseits, wie Figuren der matière de Bretagne in verschiedenen Gattungen rezipiert werden (in längeren und kürzeren Erzähltexten, in verschiedenen lyrischen Gattungen und auf der Bühne), andererseits, welche Rolle dabei verschiedene Medienwechsel (Buchdruck, Text/Bild, Bühne) spielen. DIE FRÜHEN DRUCKE DER FRANZÖSISCHEN ARTUSROMANE Brigitte Burrichter Im ausgehenden 15. und frühen 16. Jahrhundert wurden mehrere französische Artusromane des 13. Jahrhunderts gedruckt. Gegenstand des Vortrags wird der Umgang der Drucker mit den mittelalterlichen Romanen sein (Modernisierung der Sprache, Vorworte). RÜCKBLICK AUF DES KÖNIG ARTUS ZEIT. ARTUS-ERWÄHNUNGEN IM HÖFISCH-GALANTEN ROMAN DES 15./16. JAHRHUNDERTS Cora Dietl In der höfisch-galanten Erzählliteratur des späteren 15. und 16. Jahrhunderts lässt sich zunehmend eine historische Distanz zur arthurischen Welt erkennen. Wenn ritterliche Romane dieser Zeit in England oder Frankreich spielen, dann ist es meist das nacharthurische Britannien, in dem sich zwar Konstellationen aus der Artusliteratur wiederholen, aber keine Artusritter mehr auftreten. Sie werden trotzdem als Exempel genannt – und das häufig zu Beginn der Handlung, um beim Rezipienten das entsprechende literarische Muster aufzurufen und die Rezipientenerwartung entsprechend zu lenken. Diesem Phänomen werde ich an verschiedenen Beispieltexten nachgehen (u.a. Pontus und Sidonia, Ritter Galmy, Amadis), um nach der Funktion des Arthurischen im nichtarthurischen höfisch-galanten Roman um 1500 generell zu fragen. -
MERLIN's COMPANY Kiegészítő Doboz a „Shadows Over Camelot” C
MERLIN’S COMPANY Kiegészítő doboz a „Shadows over Camelot” c. társasjátékhoz (A játékhoz szükség van az eredeti társasjátékra is.) A fordító email címe: [email protected] A KIEGÉSZÍTŐ DOBOZ TARTALMA: Egy Merlin figura, amely egy új, független szereplő a táblán, aki segíti lovagokat a nehéz helyzetekben. Egy bónusz lovagfigura: Sir Bedivere, címerlappal és életkockával. Ez a figura még az eredeti játékhoz tartozó keresett reklámtárgy, amelyhez ma már nehéz hozzájutni. 7 új lovag címerlap, minden színű lovaghoz egy új, Sir Bediverehez is, kivéve Artúr királyt, aki az egyetlen igaz király. 63 kártya: - 9 új hűségkártya (7 hűséges + 2 áruló) - 16 új Travel-kártya (travel=utazás) - 23 db fehér kártya: Harci kártyák 11 db (3 db ?es, 3db 1es, 2 db 2es, 1 db 3as, 1 db 4es és 1 db 5ös), Grál 3 db Merlin 1 db 8 db új speciális fehér kártya A ?-es harci kártya értékét (egytől ötig) mindig az a lovag határozza meg, aki használja. Kivételessége ellenére nem speciális, hanem rendes kártya, mint a többi harci. - 14 fekete kártya: Despair (Kétségbeesés) 2 db Excalibur 2 db Mercenaries (Zsoldosok) 1 db Picts (Piktek) 1 db Saxons (Szászok) 1 db 7 db új speciális fekete kártya, a 7 boszi, mindannyian Morgan szövetségesei) A JÁTÉK ELŐKÉSZÍTÉSEKOR TÖRTÉNŐ MÓDOSÍTÁSOK: - Keverjük össze a 16 Travel-kártyát, és tegyük őket egy pakliban a tábla mellé, képpel lefelé! - Tegyük a Merlin figurát a Travel-pakli mellé! - Az új fehér és fekete kártyát keverjük a régi társaikhoz! (Az új kártyák egy része azonos szerepű a régiekkel, így a hátlapok alapján nem tudhatjuk, hogy új tartalmú lap következik-e) SZEREPVÁLASZTÁS: Artúr királynak, mint különleges egyéniségnek mindig szerepelnie kell. -
Read Ebook {PDF EPUB} the Story of Queen Guinevere and Sir Lancelot
Read Ebook {PDF EPUB} The Story Of Queen Guinevere And Sir Lancelot Of The Lake With Other Poems by Wilhelm Hertz The Story Of Queen Guinevere And Sir Lancelot Of The Lake: With Other Poems by Wilhelm Hertz. Access to raw data. The story of Queen Guinevere and Sir Lancelot of the lake. After the German of Wilhelm Hertz. With other poems. Abstract. Mode of access: Internet. To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request. Suggested articles. Useful links. Blog Services About CORE Contact us. Writing about CORE? Discover our research outputs and cite our work. CORE is a not-for-profit service delivered by the Open University and Jisc. Arthur, King. King Arthur was a legendary ruler of Britain whose life and deeds became the basis for a collection of tales known as the Arthurian legends. As the leading figure in British mythology, King Arthur is a national hero and a symbol of Britain's heroic heritage. But his appeal is not limited to Britain. The Arthurian story—with its elements of mystery, magic, love, war, adventure, betrayal, and fate—has touched the popular imagination and has become part of the world's shared mythology. The Celts blended stories of the warrior Arthur with those of much older mythological characters, such as Gwydion (pronounced GWID-yon), a Welsh priest-king. Old Welsh tales and poems place Arthur in traditional Celtic legends, including a hunt for an enchanted wild pig and a search for a magic cauldron, or kettle. In addition, Arthur is surrounded by a band of loyal followers who greatly resemble the disciples of Finn , the legendary Irish hero. -
Alaris Capture Pro Software
Richard III’s Books: X. The Prose Tristan ANNE F. SUTTON AND LIVIA VISSER-FUCHS Tristan, lover, knight of the Round Table and famous huntsman, was one of the best known heroes of the later middle ages. One story can be cited to prove his popularity. Philip the Good, Duke of Burgundy, had a row with his son,Charles, and galloped off fugiously into the forest. The next morning when he was recovering from his night of exertions his good humour was restored by his friend and Chamberlain, Philippe Pot, who said: Good morning, monseigneur, what is this? Are you King Arthur now or Sir Lancelot? Did you think there would be no Sir Tristrams wandering around who would be a match for you?‘ The Duke was feeling rather the worse for wear, he laughed and agreed that he had had his ‘adventure, but added that despite his sorry state he was still capable of taking up arms if love or honour demanded it. To both Philip and his courtier, ‘Tristram’ was an integral part of the Arthurian stories, he was Lancelot’ 5 equal, a knight errant and one of the best knights in the world. Their ‘Tristram’ was very different from the .original character of Celtic legend. The Celtic hero had become one of the famous triangle, with Queen Isolde and King Mark of Cornwall, as developed by twelfth- ccntury poets, and that creation in its turn underwent considerable alteration at the hands of the authors of the Prose Tristan.2 Most English people still know the love story of Tristan and Isolde in a version deriving from the prose Tristan through the medium of Sir Thomas Malory, Spenser or Tennyson. -
2013 Carnage Booklet 9-13
Carnage How to Get There on the Mountain Killington Grand Hotel 1 -800 -621 -MTNS 4763 Killington Road, Killington, VT 05751 http://www.killington.com Driving Directions from Major Cities: Killington Resort is located in central Vermont at the junction of US 4 and VT 100 North in Killington, 11 miles east of Rutland. BOSTON MA : 3 hours driving time. Take Interstate 93 to just south of Concord, NH Exit onto Interstate 89 north and follow to US 4 Rutland, Exit 1 in Vermont. Follow US 4 west to Killington. HARTFORD CT : 3 1/4 hours driving time. Follow Interstate 91 to north of Bellows Falls, VT. Take Exit 6 (Rutland) onto VT 103 and follow to VT 100. Take VT 100 north to US 4 and follow US 4 west to Killington. 4 3/4 hrs. from NY CITY (via Connecticut Turnpike): Connecticut Turnpike (Int. 95) to Int. 91 and then follow directions given under "Hartford." NY AND NJ AREAS (via NY Thruway): 5 hours driving time. NY Thruway to Exit 24 Albany. Take Northway (Int. 87) north to Fort Ann/Rutland Exit 20. Pick up NY 149 and follow east to US 4. Turn left on US 4 and follow east to Killington. MONTREAL: 3 1/2 hours driving time. Take Highway 10 east to Highway 35 south. Exit at Route 133 south and follow to Interstate 89 south. Exit Interstate 89 at Exit 3 in Bethel, VT and follow VT 107 west to VT 100 south to Killington. See Center Page for Handy Site Map Killington Grand Resort Killington, VT November 8-10 2013 2 www.carnagecon.com Welcome Join us in Killington, Vermont for the 16th annual Carnage convention, a celebration of tabletop gaming. -
Exploring Anonymity in Cooperative Board Games
Exploring Anonymity in Cooperative Board Games Jonas Linderoth University of Gothenburg Department of Education, Communication and Learning Box 300, 40530 GOTHENBURG, SWEDEN +46-31-7862172 [email protected] ABSTRACT This study was done as a part of a larger research project where the interest was on exploring if and how gameplay design could give informative principles to the design of educational activities. The researchers conducted a series of studies trying to map game mechanics that had the special quality of being inclusive, i.e., playable by a diverse group of players. This specific study focused on designing a cooperative board game with the goal of implementing anonymity as a game mechanic. Inspired by the gameplay design patterns methodology (Björk & Holopainen 2005a; 2005b; Holopainen & Björk 2008), mechanics from existing cooperative board games were extracted and analyzed in order to inform the design process. The results from prototyping and play testing indicated that it is possible to implement anonymous actions in cooperative board games and that this mechanic made rather unique forms of gameplay possible. These design patterns can be further developed in order to address inclusive educational practices. Keywords Inclusive education, board games, design based research, game mechanics, gameplay design patterns INTRODUCTION In 1994 UNESCO held a conference in Salamanca, Spain, addressing issues regarding children’s equal rights to education. Three hundred participants representing 92 governments and 25 international organizations came to the worldwide consensus that educational systems should be designed to acknowledge the wide diversity of children’s abilities and needs, and that this was best achieved by promoting inclusive education. -
Days of Wonder Announces Shadows Over Camelot - the Card Game
US Contact: Mark Kaufmann [email protected] 650-941-5606 Europe: Adrien Martinot Days of Wonder SARL [email protected] (33) 1 56 02 65 69 Days of Wonder announces Shadows over Camelot - The Card Game Loyal Knights band together against rumors and traitors in this stand-alone card game follow-up to the best-selling cooperative board game Los Altos, CA; Paris, France – August 27, 2012. Today, Days of Wonder announces Shadows over Camelot - The Card Game. Based on the award-winning cooperative board game released in 2005, the Card Game follows in the footsteps of the original, as players work together to defend Camelot against rumors swirling about the kingdom. The fast-paced game invites players to take on the role of sons & daughters of the legendary Knights of the Round Table; together, they must unite to defeat the game’s threats, represented by a deck of Rumor cards that swirl around Camelot. Once again, the Knights face Traitors in their midst as loyalties are tested and may even switch sides during the game. “Shadows over Camelot holds a special place for co-designer Serge Laget and I,” said the game’s co-designer, Bruno Cathala. “We worked many hours on a game design that while using the same basic mechanisms (cooperative, quests, and traitors...) would bring a new, very different, game experience. Only recently did it became a refined card game, with an all new twist based on observation. In the end it’s very different from the board game, while still keeping the basic elements that made the original Shadows over Camelot such a success.” Shadows over Camelot - The Card Game Includes a deck of 62 Rumor cards; 9 Knight cards; 9 Loyalty cards; 10 Quest Tokens and 16 double-sided (black and white) swords. -
Fairies, Kingship, and the British Past in Walter Map's De Nugis Curialium and Sir Orfeo
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Fairies, Kingship, and the British Past in Walter Map's De Nugis Curialium and Sir Orfeo Permalink https://escholarship.org/uc/item/8zh4b6x4 Author Schwieterman, Patrick Joseph Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Fairies, Kingship, and the British Past in Walter Map’s De Nugis Curialium and Sir Orfeo by Patrick Joseph Schwieterman A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Maura Nolan, Chair Professor Jennifer Miller Professor John Lindow Fall 2010 Fairies, Kingship, and the British Past in Walter Map’s De Nugis Curialium and Sir Orfeo © 2010 by Patrick Joseph Schwieterman Abstract Fairies, Kingship, and the British Past in Walter Map’s De Nugis Curialium and Sir Orfeo by Patrick Joseph Schwieterman Doctor of Philosophy in English University of California, Berkeley Professor Maura Nolan, Chair My dissertation focuses on two fairy narratives from medieval Britain: the tale of Herla in Walter Map’s twelfth-century De Nugis Curialium, and the early fourteenth-century romance Sir Orfeo. I contend that in both texts, fairies become intimately associated with conceptions of the ancient British past, and, more narrowly, with the idea of a specifically insular kingship that seeks its legitimization within that past. In Chapter One, I argue that Map’s longer version of the Herla narrative is his own synthesis of traditional materials, intended to highlight the continuity of a notion of British kingship that includes the pygmy king, Herla and Henry II.