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[CALL OF CTHULHU ROLEPLAYING] The Keeper's Companion is an invaluable resource for gamemasters. The material includes advice for new keepers, a lengthy study of Mythos artifacts, a learned discussion of many occult books, an up-to-the-moment description of every facet of forensic medicine, a thorough revision and expansion of the game skills (including nearly two dozen new ones), and the entire text of The Keeper's Compendium, somewhat updated -- forbidden books, secret cults, alien races, and mysterious places. Additional short essays and features round out this book -- more than 100,000 words!
In every belief system spiritual entities have been labeled as good if they have acted in favor to people and as evil if they have threatened their existence. Furthermore, protective actions and dangerous actions have been classified as such based on the beholder’s level of understanding of order and chaos. Evil entities spread chaos that endangers people’s existence, while good entities create order that preserves human life.
The Avatar Faculty creatively examines the parallels between spiritual and digital activities to explore the roles that symbolic second selves—avatars—can play in our lives. The use of avatars can allow for what anthropologists call ecstasy, from the Greek ekstasis, meaning "standing outside oneself." The archaic techniques of promoting spiritual ecstasy, which remain central to religious healing traditions around the world, now also have contemporary analogues in virtual worlds found on the internet. In this innovative book, Jeffrey G. Snodgrass argues that avatars allow for the ecstatic projection of consciousness into alternate realities, potentially providing both the spiritually possessed and gamers access to superior secondary identities with elevated social standing. Even if only temporary, self-transformations of these kinds can help reduce psychosocial stress and positively improve health and well-being.
When she was ten years old, Veronica Laka disobeyed her father, and talked back when she knew she shouldn't have. Her punishment came slowly in the form of the "Taps." As her father holds a nail under her fingernail, he taps it with a hammer just hard enough to draw blood, slowly, one finger at a time . . . Fifty years later Dr. Veronica Laka may seem like a harmless old lady, but with her partner Dr. Mark Ivy, the pain machine was born, a device that can transfer pain from one person to another. First, they have to figure out how to measure pain on levels. Then, they have to find human volunteers, a person who feels the pain, and a doctor to accept it by going "under the wires." But it would never be Veronica. Ever. She can never forget the "Taps."
Game designers, authors, artists, and scholars discuss how roles are played and how stories are created in role-playing games, board games, computer games, interactive fictions, massively multiplayer games, improvisational theater, and other "playable media." Games and other playable forms, from interactive fictions to improvisational theater, involve role playing and story—something played and something told. In Second Person, game designers, authors, artists, and scholars examine the different ways in which these two elements work together in tabletop role-playing games (RPGs), computer games, board games, card games, electronic literature, political simulations, locative media, massivel...
This volume investigates the horror genre across national boundaries (including locations such as Africa, Turkey, and post-Soviet Russia) and different media forms, illustrating the ways that horror can be theorized through the circulation, reception, and production of transnational media texts. Perhaps more than any other genre, horror is characterized by its ability to be simultaneously aware of the local while able to permeate national boundaries, to function on both regional and international registers. The essays here explore political models and allegories, questions of cult or subcultural media and their distribution practices, the relationship between regional or cultural networks, and the legibility of international horror iconography across distinct media. The book underscores how a discussion of contemporary international horror is not only about genre but about how genre can inform theories of visual cultures and the increasing permeability of their borders.
"Films about chainsaw killers, demonic possession, and ghostly intruders. Screaming audiences with sleepless nights or sweat-drenched nightmares in their immediate future. What's going on here? Presumably, almost everybody has experience with horror films. Almost everybody has sat through a terrifying motion picture and suffered the after-effects, such as hypervigilance and sleep disturbances. Some people would even characterize themselves as horror fans. But what about the others-the ones who are curious about horror films, but also very, very nervous about them? This book delves into the science of horror cinema in an attempt to address common concerns about the genre. Why is the jump scar...
Focusing on programs from the 1970s to the early 2000s, this volume explores televised youth horror as a distinctive genre that affords children productive experiences of fear. Led by intrepid teenage investigators and storytellers, series such as Scooby-Doo! Mystery Incorporated and Are You Afraid of the Dark? show how young people can effectively confront the terrifying, alienating, and disruptive aspects of human existence. The contributors analyze how televised youth horror is uniquely positioned to encourage young viewers to interrogate—and often reimagine—constructs of normativity. Approaching the home as a particularly dynamic viewing space for young audiences, this book attests to the power of televised horror as a domain that enables children to explore larger questions about justice, human identity, and the preconceptions of the adult world.
Seeking to rebuild the Russian film industry after its post-Soviet collapse, directors and producers sparked a revival of nationalist and patriotic sentiment by applying Hollywood techniques to themes drawn from Russian history. Unsettled by the government's move toward market capitalism, Russians embraced these historical blockbusters, packing the American-style multiplexes that sprouted across the country. Stephen M. Norris examines the connections among cinema, politics, economics, history, and patriotism in the creation of "blockbuster history"—the adaptation of an American cinematic style to Russian historical epics.