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The Monster Magnus I contain descriptions for over 100 monsters not including sub-types plus templates to modify those. The manual also contains information for Player Races which include the traditional RPG stand-bys as well as several new races! This is the first in a short series of Monster Manuals for the Dice & Glory Roleplaying Game focusing on the basic creatures, Player Races, Animals, Vermin, Undead, Therians etc.
In ancient China a monster called Taowu was known for both its vicious nature and its power to see the past and the future. Over the centuries Taowu underwent many incarnations until it became identifiable with history itself. Since the seventeenth century, fictive accounts of history have accommodated themselves to the monstrous nature of Taowu. Moving effortlessly across the entire twentieth-century literary landscape, David Der-wei Wang delineates the many meanings of Chinese violence and its literary manifestations. Taking into account the campaigns of violence and brutality that have rocked generations of Chinese—often in the name of enlightenment, rationality, and utopian plenitude—this book places its arguments along two related axes: history and representation, modernity and monstrosity. Wang considers modern Chinese history as a complex of geopolitical, ethnic, gendered, and personal articulations of bygone and ongoing events. His discussion ranges from the politics of decapitation to the poetics of suicide, and from the typology of hunger and starvation to the technology of crime and punishment.
New York Times–Bestselling Authors: “This gripping fantasy for the middle-grade set delivers magic and delightful dollops of ick.” —Kirkus Reviews Ever since they moved to the town of Portland, many bizarre things have happened to Jaide and Jack Shield. The twins have discovered their own magical powers—and have seen how they can go horribly wrong. They have met cats who talk and humans who keep silent about deep, dark secrets. And they have begun their fight against a deadly force known only as The Evil. Still, Jaide and Jack have yet to meet the strangest resident of Portland. It’s a creature that only comes out at night, a beast that defies human description. Jaide and Jack have never seen it . . . but they’re about to. And when they do, destruction and disaster won’t be too far away . . .
In ancient China a monster called Taowu was known for both its vicious nature and its power to see the past and the future. Since the seventeenth century, fictive accounts of history have accommodated themselves to the monstrous nature of Taowu. Moving effortlessly across the entire twentieth-century literary landscape, David Der-wei Wang delineates the many meanings of Chinese violence and its literary manifestations.
In einer zweiten Welt um uns herum gibt es Magie und Geschöpfe aus deiner verrücktesten Fantasie. Nachdem Tiaras Mutter von Monstern entführt wurde, gibt es für Tiara nur noch ein Ziel. Ihre Mutter zu retten. Ihre Reise führt sie in unbekannte Welten und sie muss mehr als ein Abenteuer überstehen. Dies ist der erste Teil einer langen und beschwerlichen Reise. Dieses Buch wird auf Englisch sein, da auch meine Gasteltern aus Amerika es lesen sollen. Aber ich bin kein Muttersprachler.
While being rooted in the academic discourse, The Things That Really Matter comprehensively explores the most fundamental aspects of human life in an accessible, non-technical language, adding fresh perspectives and new arguments and considerations that are designed to stimulate further debate and, in some cases, a deliberate redirection of research interests in the respective areas. It features a series of conversations about the things in our life that we all, in one way or another, wrestle with if we are at all concerned about what kind of world we live in and what our role in it is: things like birth, age, and death, good and evil, the meaning of life, the nature of the self and the role the body plays for our identity, our gendered existence, love and faith, free will, beauty, and our experience of the sacred. Situating abstract ideas in concrete experience, The Things That Really Matter encourages the reader to participate in an open-ended dialogue involving a variety of thinkers with different backgrounds and orientations. Lively and accessible, it shows thinking as an open-ended process and a collaborative endeavour that benefits from talking to each other rather than against each other, featuring real conversations, where ideas are explored, tested, changed, and occasionally dropped. It is thinking in motion, personal yet universal.
Contemporary American horror literature for children and young adults has two bold messages for readers: adults are untrustworthy, unreliable and often dangerous; and the monster always wins (as it must if there is to be a sequel). Examining the young adult horror series and the religious horror series for children (Left Behind: The Kids) for the first time, and tracing the unstoppable monster to Seuss's Cat in the Hat, this book sheds new light on the problematic message produced by the combination of marketing and books for contemporary American young readers.
Film Genre for the Screenwriter is a practical study of how classic film genre components can be used in the construction of a screenplay. Based on Jule Selbo’s popular course, this accessible guide includes an examination of the historical origins of specific film genres, how and why these genres are received and appreciated by film-going audiences, and how the student and professional screenwriter alike can use the knowledge of film genre components in the ideation and execution of a screenplay. Explaining the defining elements, characteristics and tropes of genres from romantic comedy to slasher horror, and using examples from classic films like Casablanca alongside recent blockbuster franchises like Harry Potter, Selbo offers a compelling and readable analysis of film genre in its written form. The book also offers case studies, talking points and exercises to make its content approachable and applicable to readers and writers across the creative field.
San Zang and his disciples have crossed the border into India, and their journey's conclusion is drawing closer by the hour. But being in a new country doesn't mean they won't encounter the same old villains, and the four companions will have to call on everything they've learned to ensure the journey doesn't end before their final destination is reached.