JANUARY 2008 UPDATE:
THE WORLD OF ILLUSIONS - 2008
In 2007, a U.S. author commissioned a cover and ten book illustrations for the first in his series of fantasy novels under the title of 'The World of
Illusions'. The author also licensed several existing artworks which had influenced his stories.
The first book, The Wise and the Mighty, is published early 2008.
The Valley of Barcentis
Zeb Battles the Cordalon
YENDOR The Journey of a Junior Adventurer - Rodney Matthews and Graham Smith, published by Big O Publishing, 1978
This is a children's book first conceived in 1973. Matthews, in 'cart before the horse' fashion, produced all the illustrations before inviting Graham
Smith to spin a tale around the pictures and a loosely defined plot that existed in his head! It lay dormant for years before Big O Publishing took it
up in 1978. The technique is watercolour on a medium board.
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ELRIC AT THE END OF TIME - Michael Moorcock, published by Paper Tiger, 1987
The book was due to be published by Big O Publishing in 1981; alas, it did not happen. Big O collapsed under its own weight in 1980. Paper Tiger books
(an imprint of Dragon's World) came to the rescue in 1987, publishing the 120 page illustrated short story in hardback and limpback.
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TALES OF KING ARTHUR - Retold by Felicity Brooks, published by Usborne Publishing, 1994, 1998
The original book had 84 pages with 11 colour illustrations and 32 pencil drawings. Later in 1997 Usborne asked Matthews for another batch of
illustrations to enhance further chapters which had been written, to increase the size of the volume to 160 pages.
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THE SNUGELDORFS - SMILE, GOD LOVES YOU! - Doug King and Rodney Matthews, published by Cepher Publishing Co., USA, 1999
This is a picture book for young children written in rhyming verse by Doug King. The Snugeldorfs are a race of creatures living in a state of sadness,
until one day, along comes the traveller Hap to tell them about God's love for them.
Rodney's technique for this commission is black outline and ink on watercolour board.
For more information about the Snugeldorfs and the land they live in check out
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THE MOTH AND THE MOON - Unpublished
This project began for Rodney in about 1973 with a suggestion by a friend that they make a semi-animated film based on his pictures. He rapidly
produced fifty pictures, but the scheme fell into abeyance for various reasons, including the demand for Matthews' posters and book covers. Some of
the pictures were published as cards and posters by Big O but the rest languished for several years until, taken by the style of his friend Nigel
Suckling's novel, Rodney approached him with the suggestion that he try and weave a story around the material.
The story concerns a young prince, heir to the throne of his dying father, whose kingdom is suddenly threatened by an enemy whose very existence has
been forgotten in the land. Before the true scale of the threat dawns on the rest of the country, he is told of a prophecy concerning his time, one
which demands the 'unforgetting' of many things and a mission into the Outer World to heal the wound of an ancient wrong, leaving his kingdom to fend
for itself as best it can. For, it is said, the Kingdom of Talassar can by its own strength do no more than postpone its day of ruin. With little more
than this prophecy to give him confidence, he sets off into the forgotten world beyond Talassar's encircling mountains, a world where the very laws
of possibility are different and humans have long been losing their battle for survival. And there he finds... well, he finds that his prophecy is
often a pretty slender foundation for hope. Let's leave it at that.
Excluding the original fifty or so stylised drawings, Matthews only produced seven colour pieces and a few pencil sketches before pressure of other
work shelved the book project indefinitely.
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THE FIELD GUIDE TO NASTIES - Unpublished
This project has its origins in 1977 and must be the longest standing Matthews unfinished book! Shown here is the original rough mock-up for the
cover and a couple of the earliest illustrations. For more information on this please go to the Showreel section.


PROJECTS by TYPE: EDUCATION: • INDEPENDENT SCHOOLS: Agnes Irwin School
Agnes Irwin, a day school for girls founded in 1869, is located on an 18-acre campus in a suburb of Philadelphia. After completing a campus master plan, our design work included transforming a 1960’s library, and constructing a new building to house visual arts, performing arts, and science.
The original library was an austere, dysfunctional, 1960s building with a concrete interior and three split levels. In our transformation, we cut a hole in the upper floor to connect the main levels visually and connected all of the levels with an open stair and glass railings. We covered the concrete interior with new ash paneling, slatted acoustical ceilings, limestone bases, and muted carpeting. The new library is calm, interconnected, and easy to supervise.
Immediately adjacent to the library and connected to it by a bridge is the new Arts and Science Center. The 30,000 sf building is based on the idea of an art gallery. Its two-story entry lobby, the open stair, and all of the corridors were designed to display art; the spaces for circulation and art display are illuminated by windows, glass walls, and skylights. The building's transparency promotes community and interaction.
We designed the building with the materials of the campus – stone, brick, glass, metal panels, and metal roofs. The science labs are located behind glass and metal facades. The spaces forthe arts are simple and loft-like; the unpretentious finishes appeal to artists.
The Arts & Science Center received American School & University's William Caudill citation as the best K-12 academic project in the U.S. in 2006.


A new journal for a new era
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M.F.K. Fisher’s author photo from the dust jacket of the first state edition of “The Gastronomical Me”
Every book collector has something they gravitate towards, something that really speaks to the magic of what collecting is all about for them. It’s pretty nerdish usually, some bit of minutia perhaps, but it’s a real window into who that collector is as a person, what makes them tick.
For me, it’s the things that cause the curtain to fall away for an instant, revealing a brief glimpse into some decision that went into the making of a particular book.
It’s like hearing about how Jack Nicolson improvised the whole “Here’s Johnny” line in The Shining, or that the original release of Blade Runner had a completely different ending…somehow it gives you more a little insight into the work, into the makers of the work, while adding an extra level of mystique at the same time.
One of my favorite instances of this was something we came across a couple of years ago. It was a first edition of M.F.K Fisher’s wonderful 1943 memoir The Gastronomical Me.
If you aren’t already familiar with the writing of Mary Frances Kennedy Fisher, my best advice is to get familiar. Some of the most poignant and gorgeous prose I have ever read emerged from that well used typewriter of hers.
“I heard Juanito singing almost as soon as I came to earth in Mexico,” begins the chapter entitled, A Feminine Ending. “I did not know it at first. I was like a sea-plant, with a thousand ears out on little stalks, but only to hear what I was looking for…”
Fisher then proceeds to weave a heartbreaking love story, confronting the seemingly disparate elements of gender, the self-consciousness of benevolent racism, and the hindsight brought on by loss.
Despite all its depth and complexity, MFK Fisher’s work has largely been presented as “food writing.” Fisher herself lamented this categorization, saying once in an interview that it had “caused serious writers and critics to dismiss me for many, many years. It was woman’s stuff, a trifle.”
The Gastronomical Me was Fisher’s fourth book (although technically it was her fifth, if you count the novel Touch and Go, cowritten with her husband Dillwyn Parish and published under the pseudonym Victoria Berne). The autobiographical work pivots around the subject of food to address an incredible range of human experience. Themes of love, war, childhood, discovery and loss are all addressed with deep feeling and sensuality.
Fisher is – if you haven’t figured it out by now – a favorite author of mine, and The Gastronomical Me is my absolute favorite book. So it was deeply meaningful to be able to hold the first edition of the book in my hands. But there is more to it then that. There was another layer of meaning, almost literally. It was a first edition of the book, and speaking more technically, it was in a first state dust jacket.
That language, the technical specifics of the book, is really pretty dull-sounding. But once you get beyond the language, you start to realize that there’s story there…and that’s where it gets interesting.
To put it simply: a “first state” generally refers to a small group of books – maybe a few hundred, maybe a thousand copies – that were printed but contain some error that is caught at the last minute. Maybe the cover artist wasn’t credited…maybe there’s an especially obnoxious typo.
In this case, printing is halted, and the problem is quickly corrected before more copies can be printed. Because destroying these first copies of the book can get expensive, the publisher may decide that it’s no big deal for them to be sent out with the other altered versions of the book.
And these first stated editions that are floating around are extra special. It may seem like a hair-splitting distinction, but to the avid collector, it’s the kind of thing that can add hundreds of dollars in value. Think of it as the double rainbow of book collecting – sure, it doesn’t always happen – but when it does, you know you are seeing something rare and remarkable.
Typically it is really just some small error that slipped through the cracks of the editing process, but sometimes it is a more obvious thing, a thing that really comes down to a matter of taste, like dust jacket design.
See, there are two different dust jackets floating around for that 1943 first edition of The Gastronomical Me. The original one (the first state or issued) and the second one that replaced it.
Both jackets look the same on the front cover – maroon colored, Fisher’s name at the top, the title written in larger letters below that. There’s a glowing blurb by Clifton Fadiman and a goofy little illustration of a cherub offering up an abundant looking spread of food, pineapples and such. It’s the back of the dust jacket that is different.
According to book-collector lore, the publisher objected to the original author portrait that was used, saying it was “too erotic.”
It is, admittedly, pretty sensual. The photograph was actually taken by the famous George Hurrell, one of the originators of the Hollywood glamour shot and a close personal friend of Fisher’s.
In the photo, the young Mary Frances Kennedy Fisher reclines, her hair spread out as if over a pillow, and her partially lidded eyes gaze off to one side. The lighting is soft, and its hard for the viewer not to linger over the young author’s lipsticked lips.
The allusions to the bedroom are obvious, and there is a voyeuristic sense that the viewer has stumbled upon a private moment…MF seems lost in some quiet recollection that brings her pleasure.
The replacement dust jacket portrait, a 3/4 profile image of Fisher, is much more typical of what we have come to expect from an author bio photo: she is looking off to the side, but the expression is much more composed, more serious. The lighting haloes around her in a way that feels almost heroic, as if to say, this is an important thinker, a writer who has important things to say.
The replacement photo
I get it, or at least…I think I do.
Fisher was already being dismissed as a writer that wrote “women’s stuff, a trifle.” Maybe this one particular choice, maybe it was a crucial one in her career.
But in a lot of ways, to me, it just feels like prudish censorship. The thing most book collectors don’t mention about the dust jacket is that the original photo was also accompanied by this passage from the book:
He had hung all of my favorite pictures, and there was a present for me on the low table. It was a big tin of Beluga caviar, in the center of a huge pale-yellow plate, the kind sold in the market on saints’ days in Vevey…and all around the tin and then the edge of the plate were apple blossoms. I think apple blossoms are perhaps the loveliest flowers in the world, because of their clarity and the mysterious way they spring so delicately from the sturdy darkness of the carved stems, with the tender little green leaves close around them. At least they were the loveliest that night, in the candlelight, in the odd-shaped room so full of things important to me…There was a bottle. We drank in glasses Chexbres had bought for then, shaped like crystal eggs almost, and with the caviar it was astonishingly good. We sat whispering and laughing and piling the pungent little seeds on dry toasted bread, and every swallow of the liquor was as hot and soft as the candle flames around us…
This passage (which is completely absent from the second jacket) is obviously a love scene, the meal as prelude. And the woman depicted in that first photo is the woman who is being romanced in this story. In a certain way, it feels remarkably honest to Fisher’s writing, and her graceful ability to talk about themes of sex.
There are several remarkably frank moments in The Gastronomical Me, moments that feel beautiful and erotic, but never give away more than necessary…two women in a kitchen, feeding each other oysters…a naked woman lying on a bed, suffering because her lover won’t go to her…and a young priest “who wore his cassock short, as if his trousers virile proof would reassure him.”
This same kind of romance and nuance exists in that first photograph.
The photographer Hurrell – best known for his images of stars like Bette Davis, Humphrey Bogart and Jean Harlow (to name just a few) – had a way of capturing his subjects at their sexiest. A quick google image search for “George Hurrell” will lend a wealth of photographs, covering what seems like all of the famous faces of classic Hollywood. The familiar theme of seduction is apparent throughout.
And yet, while Hurrell’s signature style is quite visible in the photograph of Fisher, somehow it feels more indirect. Rather than overtly seducing the camera, Fisher is looking away. And while many of the young starlets Hurrell captured are in fact gazing off camera, there is typically a theatricality about it, a sense that they are indeed vamping for the camera. No such vamping exists in the author portrait of Fisher. It feels more like a moment in time, crystalized and distilled, but completely lacking in pretense or gratuitousness. It feels like it captures Mary Frances herself….but only as much of herself as she was willing to give away, reserving a small private space that she alone gazes off into.
But then again, maybe it’s all much simpler than that.
Maybe I just really like that picture. It is a beautiful image, and it is iconic. I want to put it on my wall. That way, I can look at that picture and I can say: this was a woman who was not afraid to write about all of the appetites.


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Two years ago today, I was humbled and amazed by the turnout for the launch of my first book.
In the five years it took to write and publish War Bonds: Love Stories From the Greatest Generation, I lost so many of the couples featured. It broke my heart that some weren’t there to see their stories in print.
In the two years since publication, I’ve lost several more. Each death leaves an ache in my heart.
Yet at the front row of the book launch party many of my War Bonds couples were present as well as widows and widowers. They were in awe of the size of the crowd and watched with joy as every single copy of War Bonds sold out at Auntie’s Bookstore.
I’ve learned a lot about publishing, publicity, book tours and public speaking over the last two years– knowledge I know will serve me well when my next book comes out.
Today I’m still somewhat disbelieving that War Bonds is on bookshelves, in libraries and for sale in bookstores all over the world.
I’m so thankful for those who stood with me during the long journey from idea to pub party.
Thankful for readers who bought the book, read the book, reviewed the book and recommended it to others.
Thankful for bookstore owners, civic groups and organizations who invited me to share the message that true love can survive anything– even a world war.
But more than anything I’m thankful for my War Bonds family. They opened their hearts, homes and lives to me and allowed me to poke around. Then they trusted me to share their stories with the world.
What a journey.
What a blessing.
What a privilege.


Long awaited and much anticipated, THE WU-TANG MANUAL (Riverhead Freestyle Trade Paperback Original; February 2005; $16.00) is finally here.
Delayed in the final stages of production by the tragic death of Ol' Dirty Bastard, THE WU-TANG MANUAL, which has been referred to repeatedly on Wu-Tang albums, from "Bells of War (Wu-Tang Forever) to GZA's Liquid Swords -- is RZA's first written introduction to the philosophy and history of the Wu-Tang Clan.
Since the release of the revolutionary Enter the Wu-Tang (36 Chambers) -- over the course of four seminal group albums and a multitude of ambitious side projects -- the Wu-Tang Clan has constantly redefined what hip-hop can do and where hip-hop can go.
Now, after a decade of dark beats and mysterious lyrics hinting at a larger whole, the RZA, the abbot of the legendary Staten Island hip-hop collective, fully reveals, for the first time, the complex, multilayered Wu-Tang Universe in THE WU-TANG MANUAL.
At the creative forefront of music for the past decade, the Wu-Tang Clan are hip-hop's true artists, shrouded in a fascinating self-made mythology. Taking their name from a mythical kung-fu sword wielded by a congregation of invincible warriors, rechristening their native island after the legendary Shaolin, and performing under a variety of pseudonyms, the nine members of the Wu-Tang Clan have, from the start, surrounded their public identities with an elaborate Wu-Tang Mythology and Cosmology that forms the foundation for all their work.
Written in a style that is at once personal and philosophical, THE WU-TANG MANUAL unravels the intricate web of personalities (and alter egos), warrior codes, numerological systems, and Eastern spiritual ethics that define the Wu-Tang dynasty.
Packed with information that reflects the breadth and depth of the RZA'S -- and rest of the Clan's -- intellectual interests and passions, THE WU-TANG MANUAL is divided into four books of nine chambers each, for a total of 36 chambers. All together, the book provides the breakdown of essential Wu-Tang components.
Book I provides basic information, backstory, and a complete list of alter egos for each of the nine core members of Wu-Tang Clan: RZA, GZA, ODB, Method Man, Ghostface Killah, Raekwon, U-God, Inspectah Deck and Masta Killa.
Book II breaks down nine key themes of the Wu-Tang universe:
Spirituality: the spiritual journey through the Bible to Greek Mythology to Five Percent Nation to Buddhism to a holistic spirituality.
Martial Arts: from a fascination with kung fu movies up through a serious study of martial arts Eastern spirituality.
Capitalism: from the now-famous original record deals that allowed the Clan to record together and as solo artists through the Clan's later diversification, including Wu-Tang Records, Wu-Wear, the Shaolin Style Playstation, and more.
Comics: the influence of comic book heroes on hip-hop and Wu-Tang, including specific discussions of the bestselling Nine Rings of Wu-Tang comic books and Bobby Digital.
Chess: the importance of chess to Wu-Tang both as a game and as a multi-sided metaphor.
Organized Crime: Wu-Tang's personal, cinematic, and structural affinities with the Mafia.
Cinema: includes both kung-fu and mafia movies, but also the cinematic sound of Wu-Tang music, plus sections on key filmmakers John Woo, Jarmusch, and Tarantino.
Chemistry: brief history, anecdotes, and information about Wu-Tang Clan's experimentation, and how it has influenced their music.
Slang: a dictionary-like compendium of Wu-slang.
Book III provides the lyrics and densely annotated explanations of nine Wu-Tang songs:
1."Protect Ya Neck


This is the fifth in a series of bulletin articles recounting important teachings from Vatican II concerning the liturgy.
"[Christ] is present in the sacraments”
(Constitution on the Sacred Liturgy, 7)
The Second Vatican Council reaffirmed that Christ is present both in the Eucharist and in the other six sacraments. Each sacrament affirms a different aspect of Christ’s powerful presence. In Eucharist, disciples are brought into deep communion with Christ and one another. When that unity is fractured, Penance is the sacrament of healing that restores communion with Christ and the Church. When sickness and poor health challenge us physically, mentally, and spiritually, Anointing of the Sick is the balm that soothes and heals bodies, minds, and spirits. In Marriage, Christ makes possible the deep bond between the married couple. The couple becomes the domestic church. Through Holy Orders, the priest bears the presence of Christ in order to preside over the sacraments and to build up the Church. Each sacrament thus expresses an aspect of Christ’s unfathomable presence and desire for us.
The 50th Anniversary of the Constitution on the Sacred Liturgy: A Parish Celebration © 2013 Archdiocese of Chicago: Liturgy Training Publications. Orders: 1-800-933-1800. Written by Kristopher W. Seaman. Text from the Constitution on the Sacred Liturgy © 1982, International Commission on English in the Liturgy Corporation (ICEL). Imprimatur granted by the Reverend Monsignor John F. Canary, Vicar General, Archdiocese of Chicago on June 5, 2013.
Previous articles can be found in the box marked "Previous Bulletin Articles" on this page.


Welcome to the ValueOptions NorthSTAR network of participating providers. This manual is a guide to ValueOptions’ policies and procedures for individual practitioners, and specialty network providers in the NorthSTAR program. It provides important information regarding the managed care features incorporated in the ValueOptions participating provider contract. The manual here reflects the policies that are applicable to our “NorthSTAR” program.
The NorthSTAR provider manual is divided into sections to make it easier for you to find the information you need – please click any of the links below to get started. This guide will provide you with important NorthSTAR information. For more detailed information or questions, please call our toll-free number, (888) 800-6799.
2009 Provider Manual
» General Information
» Eligibility, Enrollment, & Covered Services
» Enrollee Information
» Clinical Policies & Procedures
» Specialty Provider Network (SPN) Policies and Procedures
» Appeals, Complaints, and Grievances
» Service Coordination
» Quality Management
» Network Management
» Enrollee and Provider Service Functions
» Claim and Billing Information
» Required Forms
» Online Service Account Request
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ValueOptions reserves the right to interpret and construe any terms or provisions in this manual and to amend it, in its sole discretions, at any time. To the extent that there is an inconsistency between the handbook and the participating provider contract, the participating provider contract provisions shall govern.


Europe, and of his son, a cartoonist who tries to come to terms with his father his father's terrifying story, and History itself. Its form, the cartoon (the Nazis are cats, . Vladek's harrowing story of survival is woven into the author's account of his tortured relationship with his aging father. Holocaust, Jewish () -- Poland -- Biography -- Comic books, strips, etc. Holocaust survivors -- United States -- Biography -- Comic books, strips. Holocaust, Jewish () -- Poland -- Biography -- Comic books, strips, etc. Holocaust survivors -- United States -- Biography -- Comic books, strips, etc. Children of Holocaust survivors -- United States -- Biography -- Comic books, strips, etc.
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May 2, Maus vol. 1. Upcoming SlideShare Maus vol. 1 Maus vol. 1. 1. aher Maus. Belen Burgos. Maus de art spiegelman. jsurriola. Maus. Jan 11, Maus. I: A Survivor's Tale: My Father Bleeds History to download this book . Book Details Author: Art Spiegelman Pages: Binding. Jun 28, Author: Art Spiegelman Pages: Publication Date Product Group:Book [PDF] Download The Complete Maus Ebook | .
Every panel had to become the shortest definition of itself. A picture with a twenty-five word caption may be worth only words. Getting started Before reading Maus , discuss with your students what they know about the Holocaust: Explore what books they have read on the subject, and what films or television programs have they seen.
Find out what they know about World War II generally. Discuss also the comic book form: What kinds of stories can you tell with a comic book? If you decided to tell a story about the Holocaust, what medium would you choose, and why?
What would be the advantage of that medium? Reading Strategies Because of the length and complexity of Maus , it is advisable to spread activities over several days. The questions here can provide the basis for lively classroom discussions. They are arranged thematically. However, it is likely easier to discuss Maus a chapter or a book at a time, and therefore questions are listed roughly in sequence.
Describe the faces in Maus. Are they iconic could be anyone or particular could only be Vladek? Why do you think Spiegelman drew the characters this way?
Hitler reduced Jews to vermin. Is Spiegelman doing the same thing? Generally, comics artists draw their works twice the size of the eventual published product. When the artwork is reduced by half, the resulting image is crisp and detailed. Spiegelman drew Maus at its actual size. Why do you think he did?
Look carefully at the frames the lines around the panels and the gutters the space between the frames. Where do you think the artwork is most detailed? Where is it roughest?
Is there something about those moments in the story that calls for a particular way of drawing? See page , book one. Most panels are contained in frames. What effect does a frame create, and what effect does a bleed create? Look at page , book one. Analyze the page, panel by panel. Assess your reactions to the page. Predict what will happen next.
More specifically: Look at the fourth panel. What does the jagged speech balloon mean? Why do you think that? Look at the next panel. Look at the very last panel. Why is there no frame? What details do you notice about that panel?
What feelings does this frame express? By addressing the horror of the Holocaust through cartoons, the author captures the everyday reality of fear and is able to explore the guilt, relief and extraordinary sensation of survival - and how the Combined for the first time here are Maus I: By addressing the horror of the Holocaust through cartoons, the author captures the everyday reality of fear and is able to explore the guilt, relief and extraordinary sensation of survival - and how the children of survivors are in their own way affected by the trials of their parents.
A contemporary classic of immeasurable significance. Get A Copy. Paperback , pages. Published October 2nd by Penguin Books first published January 1st More Details Original Title.
Sosnowiec Poland Auschwitz Poland. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Complete Maus , please sign up.
This unusual book was first published in under the title "Maus: A Survivor's Tale. And Here my Troubles Began. Do you agree? Peter Kubicek. Ville-markus Nevalainen I do believe that Maus is something that everyone should read - the way it explores the holocaust is so real. It being a graphic novel and having …more I do believe that Maus is something that everyone should read - the way it explores the holocaust is so real.
It being a graphic novel and having animal characters might push some people away at first, but these elements are what truly create the story.
However, would like to point out that your dates are wrong. Part one was published , part two It won the Pulitzer in and the complete edition was published in Though these details do not matter that much. It is worth reading? Priyansha yes it is See all 30 questions about The Complete Maus…. Lists with This Book. Community Reviews.
Showing Rating details.
Sort order. Nov 05, Lisa rated it it was amazing Shelves: This burrowed it's way deep into my heart. This made me feel so much. This was an experience , not just a "read". This was real and I can't even explain how this affected me because it was the most emotional thing I've ever read. Not made-up emotion.
This was REAL and it affected me. He reminded me of my Grandfather, a little. I loved my Grandfather and I loved Vladek. His story, as told to his son Art Spiegelman, was one of the most powerful stories I've ever experienced. This w oh my god. This was a story about survival and deep love.
The love shown between Vladek and Anja mesmerized me and broke my heart seeing them go through so much cruelty and suffering. It is drawn masterfully in beautiful black and white.
Jewish people are drawn as mice, German people are drawn as cats, Polish people are drawn as pigs and people from the U. S are drawn as dogs. From Wikipedia: In a interview, Spiegelman noted that "these metaphors Art has a lot of guilt over having such an easy life when his parents went through a hell he couldn't even imagine. Despite this, you could feel the love radiating from the pages.
The love Art and Vladek had for each other. I loved the little funny moments in the novel, like when Vladek throws out Art's coat and gives him a "warm" coat, which Art hates because it isn't fashionable. Just the way Art draws his disapproving father made me smile. It was done with such warmth and love. Art's father was definitely a very funny man, even if he didn't mean to be.
I loved Vladek so much and in the last few pages, you are shown a picture of Vladek during World War 2. At that moment, I had to stop myself from crying because after reading his incredible story, I saw a picture of the actual Vladek.
And it instantly broke my heart. I felt so much love for him, it was unreal. This story is not a pleasant one but it is incredible. It's not easy to read at times but it's essential. It's about so many things. If you read this and it doesn't affect you, you are heartless. I recommend it to everyone. Even if graphic novels aren't usually your thing.
This is my favourite graphic novel now. There is no way that can change now. This was unforgettable and deeply moving. Read it. Don't miss out on something so emotional and powerful. I hope you love it like I do. View all 9 comments. Wonderful example of the power of a graphic novel! While it took long time of finally reading Maus , I knew that it was a graphic novel referring about the Jew Holocaust, but using mice Jews and cats Nazis as the characters, Again, the Jew Holocaust is not a matter to take in comical way, but then, I think that the graphic novel could plainly use human beings not necessarily too realistic, some cartoon style could work and the graphic novel will be the same as good, the same as relevant.
You know, as in the movie Life is Beautiful where the horrors of the Holocaust are there, but still there is space for some humorous moments, that they help as tension relief without meaning any disrespect to the tragic historic event.
However, definitely the graphic format of this story makes possible for readers to be witness from the begining until the end and even further of the whole tragic and cruel process of what Jews endured and not many were able to get out alive from it during the World War II. A titanic graphic story constructed during years of artistic effort to show, with detail and authenticity, one of the darkest episodes of human history.
Your friends? If you lock them together in a room with no food for a week… then you could see what it is, friends! In this way, with boldness and courage, Maus exposes us with a harsh truth: Survivors from a war in most cases is just because plain luck. Even some survivors got such bad luck of dying after the war ended and by non-military personnel. War is a crazy thing any war and if you try to get some logic out of it, View all 40 comments.
The art style was a bit distracting at times, but I really enjoyed this! View all 3 comments. Mar 09, Steve rated it it was amazing. I speak of the horrific violence that persists to this day; that inflicted by cats on defenseless mice. Perhaps the most obvious clue that this is, in truth, the intended theme lies in the title itself: For those of you unfamiliar with German, this is their word for mouse. Beyond that, when you look carefully at the drawings, you see that the goose-steppers have distinctly feline features, while the persecuted Jews in the ghettos and camps have rodent-like proboscides and disproportionately small eyes.
Mar 9, Addendum: Aug 23, This still ranks as my top graphic novel of all time, but I just finished Chris Ware's Building Stories which gives it a pretty good run for the money. The suffering in that one may not be as extreme, but it's every bit as real.
View all 62 comments. Aug 07, F rated it it was amazing Shelves: View 2 comments. Jul 11, Councillor rated it it was amazing Shelves: Until just a few weeks ago, the only reason for why I read graphic novels now and then was because of people's constant recommendations about the beauty and the value of those kinds of books.
I will be honest; I am guilty of never believing those words. Most likely did I read graphic novels which didn't suit my personal tastes, but Art Spiegelman was capable of shattering my expectations and completely stunning me with the art of his writing and his illustrations.
But let's start at the beginning Until just a few weeks ago, the only reason for why I read graphic novels now and then was because of people's constant recommendations about the beauty and the value of those kinds of books. But let's start at the beginning. Maus is a collection of two graphic novels with autobiographical background about the author, Art Spiegelman, and his father's recollections about his experiences in the Second World War.
Spiegelman constantly switches between present and past, between the time when he writes down what his father tells him and the time when all the horrible events in the concentration camps took place.
But he doesn't only include information about his father Vladek Spiegelman's tale of survival; the personal and very conflicted relationship between Art and Vladek also turns out to be a central part of the story, including controversy about Vladek's second wife and Art's personal approach to the success he had as an author when the first installment in his series of graphic novels was published.
Obviously, memoirs or autobiographies always include potential to let their author shine in a bright light, to let them appear heroic and exemplary. You have to rely on what the author tells you about himself and the people surrounding him, on which layers of his own character he presents. Art Spiegelman did so in a very convincing way, pointing out not only the horrible crimes which were committed during the Nazi period, but also the flaws he and his father had themselves, as human beings with all their faults and mistakes.
Art and his father appear in such a realistic way that you can't help but care for them; something which never happened to me before in a book with autobiographical content. Of course, some parts of the novels were shocking, which you need to expect before reading something about such an important subject. Feelings of despair and fear overshadowed Vladek Spiegelman's recollections of his experiences during the Second World War, from his family's decline and his marriage to his transport to Auschwitz.
Perhaps the most memorable thing about those graphic novels is the way Art Spiegelman used animal heads in the place of recognizable human ones.
The completely black-and-white illustrations vividly underline the feelings Spiegelman wanted to express with his books. And still now, almost two months after finishing them, am I stunned. Do I need to mention that I'd recommend these graphic novels to everyone? View all 26 comments. Maus was more than I expected.
I knew it would be about World War II and the Holocaust with the charaters being anthropomorphic mice, cats, pigs, dogs, etc. What I didn't realize was it would expand even farther in to the specific lives of the Spiegelmans before, during, and after the war.
His experienc Maus was more than I expected. His experiences with his father are as much a part of the book as the stories he is trying to document. Another viewpoint of life under Nazi oppression is always riviting.
I have read and seen both fiction and non-fiction accounts of life during WWII. I have been to the Dachau concentration camp. These stories are important, but are not always easy to read or tell. I applaud Spiegelman for this creative approach that hopefully brings these stories to those who might not be inclined to read a big novel or watch a documentary. Basically everyone should read this or at least some stories of the war.
They say those who forget history are doomed to repeat it. Jan 17, Leonard Gaya rated it it was amazing. One may dream: Back in those days, Hollywood was producing its most celebrated films, and Mickey Mouse had become the cutest little mascot on the silver screen. At that very moment, the Allied troops carried movie cameras into the concentration camps. The films that remain from that time —the ones that were shown during the Nuremberg trial— are tough to watch, haunting, almost impossible to put into words.
Art Spiegelman has managed to blend both pictures Disney and the Red Army file footage poetically, through flat, condensed and straightforward drawings. His old father, a bit soft in the head and speaking in a funny broken English, provides a deeply personal, honest, at times slightly Kafkaesque or Chaplinesque account of these dreadful years, of that constant fear and deprivation, so that we could make some sense of this inhuman, world-changing experience.
This visual masterpiece is a refutation of this sentence. And it has left me both moved and dumbfounded. Uno splendido romanzo? In fondo le dimensioni delle vignette di Spiegelman fanno davvero venire in mente i fotogrammi di un film 35 mm.
Spiegelman disegna gli ebrei come topi, i nazisti come gatti, i polacchi come maiali. Animali parlanti per esprimere condizioni umane profonde difficili da esprimere altrimenti Esopo, Fedro, La Fontaine.
Una storia straziante? Che sorpresa la parte moderna, che regalo.
View all 11 comments. Apr 02, Svetlana rated it it was amazing Shelves: In the narrative present, Art Spiegelman author is interviewing his father Vladek about his experiences as a Polish Jew and a Holocaust survivor. The narrative past depicts these very experiences from the mid s to the end of the Holocaust in Spiegelman has utilised different species of animals to portray different nationalities and races - Jews as mice, Germans as cats, Poles as pigs and French as frogs.
I was actually inspired to read this after visiting a war museum with my friend. Though I had a lot of fun that day, the Holocaust Exhibition was one of the most harrowing and tragic things I have ever seen. During the exhibition, I realised how ignorant I had been to the extent of brutality, inhumanity and pain that was inflicted on Jews during WW2.
And we knew that from here we will not come out anymore We knew the stories - that they will gas us and throw us in the ovens. This was And here we were. It was both insightful and addictive with its illustrations and style of storytelling. Nervous, compliant and clinging, she has her first nervous breakdown after giving birth to her first son.
She killed herself by slitting her wrists in a bathtub in May  and left no suicide note. She is French and converted to Judaism  to please Art's father. Spiegelman struggles with whether he should present her as a Jewish mouse, a French frog, or some other animal—in the end, he uses a mouse.
An aunt poisoned their first son Richieu to avoid capture by the Nazis four years before Spiegelman's birth. Shortly after he got out, his mother committed suicide. Spiegelman said that when he bought himself a German Volkswagen it damaged their already-strained relationship "beyond repair".
The discussions in those fanzines about making the Great American Novel in comics inspired him. The tale was narrated to a mouse named " Mickey ".
His father gave him further background information, which piqued Spiegelman's interest. Spiegelman recorded a series of interviews over four days with his father, which was to provide the basis of the longer Maus. He got detailed information about Sosnowiec from a series of Polish pamphlets published after the war which detailed what happened to the Jews by region.
The same year, he edited a pornographic , psychedelic book of quotations, and dedicated it to his mother. He moved back to New York from San Francisco in , which he admitted to his father only in , by which time he had decided to work on a "very long comic book". Will Eisner popularized the term with the publication in of A Contract with God. The term was used partly to mask the low cultural status that comics had in the English-speaking world, and partly because the term "comic book" was being used to refer to short-form periodicals, leaving no accepted vocabulary with which to talk about book-form comics.
Every chapter but the last appeared in Raw. Spiegelman was relieved that the book's publication preceded the theatrical release of the animated film An American Tail by three months, as he believed that the film, produced by Steven Spielberg 's Amblin Entertainment , was inspired by Maus and wished to avoid comparisons with it. Though Pantheon pushed for the term "graphic novel", Spiegelman was not comfortable with this, as many book-length comics were being referred to as "graphic novels" whether or not they had novelistic qualities.
He suspected the term's use was an attempt to validate the comics form, rather than to describe the content of the books. Pantheon later collected the two volumes into soft- and hardcover two-volume boxed sets and single-volume editions. It also has interviews with Spiegelman's wife and children, sketches, photographs, family trees, assorted artwork, and a DVD with video, audio, photos, and an interactive version of Maus.
In support of the African National Congress 's cultural boycott in opposition to apartheid , Spiegelman refused to "compromise with fascism"  by allowing publication of his work in South Africa. By , Maus had been translated into about thirty languages. Three translations were particularly important to Spiegelman: French, as his wife was French, and because of his respect for the sophisticated Franco-Belgian comics tradition; German, given the book's background; and Polish.
Poland was the setting for most of the book and Polish was the language of his parents and his own mother tongue. The Polish translation encountered difficulties; as early as , when Spiegelman planned a research visit to Poland, the Polish consulate official who approved his visa questioned him about the Poles' depiction as pigs and pointed out how serious an insult it was.
Publishers and commentators refused to deal with the book for fear of protests and boycotts. Demonstrators protested Maus's publication and burned the book in front of Gazeta's offices. Bikont's response was to don a pig mask and wave to the protesters from the office windows. Based on Vladek's memory, Spiegelman portrayed one of the minor characters as a member of the Nazi-installed Jewish Police.
An Israeli descendant objected and threatened to sue for libel. Spiegelman redrew the character with a fedora in place of his original police hat, but appended a note to the volume voicing his objection to this "intrusion".
Spiegelman, like many of his critics, worries that "[r]eality is too much for comics


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Award-winning documentary film-maker, writer and artist.
NEWS: On Monday December 9th, 2019 BBC Radio 4 broadcast a 45-minute dramatisation of Hamermesh’s memoir THE RIVER OF ANGRY DOGS. This was part of a major series for Radio 4 called THIS IS YOUR COUNTRY NOW TOO, a series of 7 new dramas, each featuring the story of a child or young person arriving on British territory as a refugee across the twentieth century. The series featured young refugees’ stories from around the world and across the decades. Hamermesh’s story will represent the 1940s and will mark her journey from Poland to Palestine.
Mira Hamermesh (1923-2012) was considered one of the most gifted documentary makers of her generation. Born to a middle-class Jewish family in Poland but spending most of her working life in the UK, she was a passionate feminist whose main subjects were women, war and social injustice. She was also the author of a highly regarded memoir THE RIVER OF ANGRY DOGS and a painter of distinction with exhibitions in Jerusalem and London.
In the 1980’s she produced a series of award-winning documentaries for Channel 4 that dealt with, in turn, women living under apartheid in South Africa (MAIDS AND MADAMS), the “untouchables” in India (CASTE AT BIRTH) and the emotional toll for both Israelis and Palestinians living with the long-running Israel-Palestinian conflict (TALKING TO THE ENEMY).
But what many considered her masterpiece was a deeply personal film about how Poles in present-day Poland co-exist with the ghosts of their missing Jewish neighbours murdered in their millions during World War II. In LOVING THE DEAD (BBC, 1990), Hamermesh goes on a very personal search for her parents, for her mother who died of starvation in the Jewish ghetto of Lodz, the town of her birth, and her father who perished in Auschwitz. Combined with her very personal journey she travels across Poland to find traces of the vanished Jewish presence that has marked Poland over many centuries.
LOVING THE DEAD drew acclaim from, among others, Steven Spielberg who viewed it as he was preparing to make SCHINDLER’S LIST. In a letter to Hamermesh, Spielberg wrote: “I was moved to tears and deep thoughts while watching LOVING THE DEAD. It is another important brick in the monument that must be rebuilt to remind our children of the tremendous contributions and sacrifices Jewish people have made all over the world. It inspires me in my quest to make SCHINDLER’S LIST a film. Thank you for your film.”
Hamermesh was born July 15th 1923 in Lodz, Poland the youngest of three children to a middle-class Jewish family. She felt particularly close to her father who ran a small rubber factory making wheels for the motor trade vehicles. Her father travelled abroad for his work, sending Mira postcards of London and Paris and other great European cities. Mira’s
mother claimed to be descended from a famous rabbinical family. She grew up in a comfortable section of Lodz, with holidays abroad, a servant and many of the accoutrements of the modern world.
On September 5th 1939 German troops rolled into Lodz. Mira quickly understood that Jews were in great peril under Nazi occupation and decided that she had to escape Poland and make her way to Palestine, where her sister Genia had moved the year before. In November 1939, just two months after the Nazi invasion, she managed to persuade her reluctant and fearful parents to allow her and her older brother Mordechai to attempt that treacherous journey. She was armed with little more than a forged identity card.
In her memoir THE RIVER OF ANGRY DOGS Hamermesh described her escape from German-occupied Poland – including a swim under the cover of darkness across the River San – to Lvov in Soviet-occupied Poland and then Vilnius, Lithuania where she spent a year looked after by a Jewish organisation. Hamermesh ultimately made it to Palestine with the aid of a Jewish youth organisation via Moscow, Istanbul, Odessa, Damascus and Beirut, thanks to her sister who worked tirelessly to obtain a highly prized entry permit to the British protectorate. Mira’s brother, who was arrested by Soviet troops and sent to Siberia, also miraculously made it to Palestine, all three siblings thus escaping the fate of their parents.
After a brief sojourn at the Ben Shemen agriculture school where her sister was studying, she continued her school studies in Tel Aviv and then earned a place to study art at the Bezalel Art School in Jerusalem. She had her first solo exhibition in Jerusalem in 1943.
Awarded a British Council Scholarship to study at the Slade School of Art, she came to London in 1947. After graduating from Slade she went on to further her skills under the tutelage of Polish-born painter Josef Herman whose richly dark figurative paintings were a major influence on Hamermesh’s own work. In 1960 Hamermesh had a solo exhibition at the Brook Street Gallery in Mayfair, London.
Invited to the exhibition was the dean of the Polish National Film School in Lodz, whom Mira had met the year previously on a “pilgrimage” to the city of her birth, her fist visit there since 1939. The spontaneous visit to the Film School was a turning point in her life. Hamermesh was increasingly frustrated with the limitations of painting and yearned for the larger canvas of films to tell her stories. Following the dean’s visit to her exhibition she was offered a place at the film school, one of the first students from the West to be invited.
She studied in Lodz for four years (1961-65), and directed a number of short films over that period including BLACK POMPEI (1962) a requiem for the Jewish cemetery in Lodz (where her mother was buried) and LESSON II, a short film about the process in which Russian prisoners of war were divided between those who could read and those who were illiterate.
She returned to the UK and directed her first documentary for British TV, END OF TERM (ITV, 1965), about the summer term production of THE TEMPEST at a Kent preparatory school.
In 1968 Hamermesh was one of a handful of foreign TV specialists invited to Israel to help in the creation of the country’s first TV channel. While in Israel she made a number of Hebrew-language films including FIGHTERS OF THE GHETTO, about a kibbutz in northern Israel which set up a museum dedicated to the fighters of the Jewish ghettos in Poland in Warsaw and other Polish cities. Her films there also included SON OR DAUGHTER, HASHISH KIDS etc, which are screened on Israel TV to this day.
In 1982 Channel 4 was launched in the UK. The publicly owned but commercially-funded broadcaster led to an explosion in the independent production sector, of which Hamermesh was one of many benefactors via her film company Sered Films (‘sered’ is the Hebrew word for film). Channel 4’s founding Chief Executive was Jeremy Isaacs, renowned producer of THE WORLD AT WAR for Thames TV. Isaacs and his head of programming Liz Forgan, both became champions of Hamermesh’s work.
Their first commission was MAIDS AND MADAMS (Channel 4, 1986), which dealt with the tragedy of apartheid seen through the emotional relationship between black domestics and their white female employers. It showed how the system of apartheid begins at home, where white-aproned black maids dedicate their working lives to tending the children of their white privileged madams while their own children were left in poverty and neglect in black townships many miles away.
The film won multiple awards including the Prix Italia, the annual prize for the best TV documentary of the year, the most coveted award for documentary TV makers. It was the first Prix Italia won by Channel 4. The film also picked up a clutch of other awards, including a Royal Television Society Award for Best International Affairs Programme and a Special Jury Award at the BANFF TV festival in Canada.
The second film was TALKING TO THE ENEMY (1987) which followed the relationship between a young female Palestinian activist living in exile in the US and an older Israeli editor working on a left-wing magazine. The meeting between Muna Hamzeh and Chaim Shur led to an exchange of letters between the two and ultimately an offer from Shur for Hamzeh to visit Israel and his family’s home at their kibbutz in the Negev.
The emotional meeting between these two victims of the Palestinian conflict – Shur’s son died while serving in the army, Hamzeh’s family fled Palestine following the war of 1948 – is filmed with great sensitivity by Hamermesh. Set in a landscape bristling with the realities of the killing conflict, the film explores the feelings and psychology of people living in enmity with no easy resolution to the bloody conflict.
The third entry in what Hamermesh described as her “triptych” of films was CASTE AT BIRTH (1990), which provided a revealing insight into the caste system in modern Indian society and the continuing discrimination against the so-called “untouchables” (Dalits). The film shows the daily humiliation suffered by toilet cleaners and road sweepers – all Dalits – and is a powerful testimony against the caste systems which persists to this day in many rural Hindu areas.
Although LOVING THE DEAD proved to be her final film, Hamermesh continued to pitch projects to British broadcasters on subjects she felt passionately about, including Roma gypsies, refugees and antisemitism. She also spent a year as a visiting academic at the Australian Film School in Sydney.
Right up to a few weeks before her death, Hamermesh was hard at work on WOMEN AND WAR, a project that reflected her very personal interest in how the lives of women I particular were impacted by war as mothers of soldiers, as warriors, as widows and as victims of rape and sexual abuse.
In 1990 Hamermesh was honoured with a one-week retrospective at the Jerusalem Cinematheque in which all her films for Israel TV were screened along with those for British TV and her Polish Film School productions.
In 2011, one year before her death, she was honoured with a mini-retrospective at the Polish Arts Festival in Southend where MAIDS AND MADAMS, LOVING THE DEAD and TALKING TO THE ENEMY were screened. Hamermesh was also interviewed on stage by novelist Fay Weldon, a long-time friend.
In 2013, one year after her death, the British Film Institute organised a mini-retrospective featuring her films MAIDS AND MADAMS and LOVING THE DEAD. Jeremy Isaacs, one of the key instigators behind this festival, gave the opening address while journalist and filmmaker David Herman – son of Mira’s mentor Josef Herman – moderated a Q&A.
In December 2019, BBC Radio 4 is scheduled to broadcast a one-hour dramatisation of Hamermesh’s memoir THE RIVER OF ANGRY DOGS. This is part of a major series for Radio 4 called THIS IS YOUR COUNTRY NOW TOO, a series of 7 new dramas, each featuring the story of a child or young person arriving on British territory as a refugee across the twentieth century. The series will feature young refugees’ stories from around the world and across the decades. Hamermesh’s story will represent the 1940s and will mark her journey from Poland to Palestine. Other dramas will concentrate on refugees arriving from East Africa in the 1960s, from China to Hong Kong in the 1970s and from Afghanistan in the 1990s.
Hamermesh was married to Richard Coopman, a chartered surveyor, in 1951. They divorced in 1965. She is survived by her son, Jeremy and grandchildren Benjamin and Anna.
Author and playwright Tallulah Brown was Mira’s assistant for the last few months of her life and wrote fondly about the time they spent together. She wrote this Tribute to her that was published in THE OLDIE magazine.


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Dungeons and Dragons (D&D) Fifth Edition (5e) Monsters. Your one-stop online shop for classic and old-school D&D products from TSR and Wizards of the Coast, delivered straight to .. D&D 5 Edition - Character Sheets Pdf Download All the character sheets you need for your adventure into the d&d 5 edition of the gam Monster Manual I - Pdf Download Monster Manual I Yep, we all hate that moment where we have only three health point left and all suddently a bunch of monsters appears. Download the PDF to your device, or export it to Dropbox or Google Drive. D&D 4E Monster Manual 1 (Orcus, Nightwalker, Roper, Satyr, Hook Horror) D&D 4E Monster Manual 2 (Demogorgon, Genoids, Winter Wolf, Fangs of Yeenoghu, Cultist of Demogorgon, Bone Golem) D&D 4E Monster Manual 3 (Nagpa, Isle of Dread) D&D 4E Manual of the Planes (The Isle of Dread, Planes) D&D 4E Plane Above (Planes, Vaprak). Conversions to 5th Edition D&D This document provides guidelines for converting charac - ters and adventures from earlier editions of Dungeons & Dragons to the fifth edition. Atlas d&d conversion manual pdf Rules Resources Adventures Stories FAQ Search Links 3E/4E/5E Mystara Product List (and Downloads) by Håvard.
This wa. Temple of Elemental Evil Conversion Notes Brian C.pdf) or view presentation slides online. It includes rules for converting characters, monsters, feats, spells, prestige classes, and magic items from the version of the rules to the Pathfinder Roleplaying Game.
Series: D&D Core Rulebook. Time to try and finish as much of my Three Houses 2nd playthrough as possible before pokemon begins. by Mike Shea on d&d conversion manual pdf 28 July Some 5e Quick Tips for the 4e DM.
Chevy S10 V8 Conversion [HOST] - Free download Ebook, Handbook, Textbook, User Guide PDF files on the internet quickly and easily. [5th Edition] Monster Conversion Guides (found) 5th Edition. With the combination of the Player's Handbook (D&D 5e) and especially the Monster Manual (D&D 5e) there's a lot more data available to validate a conversion algorithm. Most T56 transmission models useDexron II automatic transmission fluid.
A/D-D/A Converter with ADAT Optical I/O 19 A/D-D/A Converter, No ADAT Optical I/O 20 We recommend that you read this manual from cover to cover. • all embossed door designs are a40 galvannealed. Except where otherwise noted, content on this wiki is licensed under the following license: GNU Free Documentation License GNU Free Documentation License Conversion Manual AD&D to D20 - Free download as PDF File . OK, I Understand.
, The Temple of Elemental Evil is one of the most elaborate and sophisticated of the campaigns in the. manual for maximum allowable temperature). File:Gritty Realistic D&D [HOST] Unearthed Arcana. Convert characters and items from AD&D to D&D 3rd edition, and vice versa. d&d conversion manual pdf Compress, edit or modify the output file, if necessary. VMware, Inc. Jun 04, · Hello and welcome to my website.
An updated version of D&D was released between 19as Advanced Dungeons & Dragons (AD&D). 3 Online Help ( KB. Just pure comic relief. Nov 14, · Warcraft III: 5e Conversion (Combined) - Imgur Vall does D&D: Photo Think I'll change that backstory and make him the dumbest knight ever. This is the electronic version of the paper edition.
This is a rather lengthy article so here's a quick summary of tips for 4e DMs who plan to run D&D 5th Edition. The aim of conversion is to arrive at something that feels like the older-edition version, rather than at an exact repli -. Dec 13, · Star Wars - D&D 5th d&d conversion manual pdf Edition Conversion There is document - Star Wars - D&D 5th Edition Conversion available here for reading and downloading.
The PDS car uses a PDS adapter cable that plugs between the stock connectors and the controller. This guide should be used only for the initial conversion from manual (or other non-records UAN software) to the UAN software. Figure VMware Converter creates and migrates WMware ready virtual machines from a d&d conversion manual pdf broad range of sources. The Monster Manual presents a horde of classic Dungeons & Dragons creatures, including dragons, giants, mind flayers, and beholders–a monstrous feast for Dungeon Masters ready to challenge their players and populate their adventures.
Rideout These notes are intended to convert the material in The Village of Hommlet / The Temple of Elemental Evil to work with the Dungeons and Dragons 5th Edition rules. in which multiple 32 bit D/A conversion circuits are combined in parallel, as well as by utilizing a parallel buffer amplifier for unbalanced analog d&d conversion manual pdf outputs. Space. Sword Coast Legends Companions as D&D NPCs | High-Res PDF Looking at running a Sword Coast Legends themed D&D campaign?
Dungeons & Dragons 5e Conversions (by Kentti) From Karriviki. (Grille manufacturers list the face velocity for grilles and registers at a given CFM, e. [5th Edition] Monster Conversion Guides (found) 5th d&d conversion manual pdf Edition I ran across a bunch of monster conversion guides today and since a lot of people are searching for this info right now, here are the links. I liked the WEG d6 Star Wars to d20 Star Wars guide to be a good resource, though I would use it as a guideline only these d&d conversion manual pdf days. I have intentionally left the actual material of. We specialize in Class 3/Machine Gun conversion manuals, armorer books, and NFA weapon plans and no special license is required to purchase our products! D&D Classics. Oh look, something new.
Monster Manual 5e [HOST] - Free download Ebook, Handbook, Textbook, User Guide PDF files on the internet quickly and easily. Until we see the new DMG Author: Raging Owlbear. This looks like it would be fairly straightforward for 3e and Pathfinder, although I'm not really familiar with them. Freely available as PDF from Wizards of the Coast.
Whatever your needs, here are a few of the Sword Coast Legends companions statted out as NPCs for use in any D&D tabletop games! Dungeons & Dragons Conversion Manual (2e/3e) - This booklet is intended to help you preserve the best of your old D&D campaign as you adopt the new rules. Pathfinder RPG Conversion Guide T his guide is intended to make converting your game to the Pathfinder d&d conversion manual pdf Roleplaying Game quick and easy.
Conversion of D&D material is more art than science. This guide is intended to make converting your game to the Pathfinder Roleplaying Game quick and easy. Dec 13, · Star Wars - D&D 5th Edition Conversion There is document - Star Wars - D&D 5th Edition Conversion available here for reading and downloading. Conversion of D&D material is more art than science. Wiring conversion from Curtis to D&D Regen controller: Curtis DCS/PDS D&D Regen Function.
File:Unearthed Arcana pdf. You can use this site as a quick Refer to the Basic Rules PDF for the known languages in 5E. $ $ Average Rating (2 ratings)5/5(2). • doors may be fire rated up to and including 3 hours. I found the AD&D 2e d&d conversion manual pdf to D&D 3e guide to be a mixed resource. DX Media Converter pdf manual download. This conversion is of the much-loved World of Warcraft Role Playing Game, as for 5th edition of Dungeons and Dragons, made by the fans, for the fans.
GitHub Gist: instantly share code, notes, and snippets. 5TH EDITION D&D LINKS: return to top of page: DM's GUILD. or will it include hard advice on character conversion and combat math? Manual T Register and Grille Face Ve-locities Does the air velocity across the register or grille exceed the Recommended Velocity Chart?
Oct 29, · Fourth edition D&D ups the ante on almost everything from base statistics to power of magical items and what they do. Choose your race, class and more, inspired from classic Elder Scrolls games. Aug 26, · I've seen a mixed bag in terms of conversion guides over the years.
In Search of the Unknown evokes the weird labyrinth origins of D&D better than the Keep. I d&d conversion manual pdf start with Dragonlance and go on from there to different worlds, settings, and stuff. This is the Conversion Manual by Skip Williams for converting Advanced Dungeons and Dragons (AD&D, Second Edition) characters into the Dungeons and Dragons (D20, Third Edition) System.
The D&D 5E Monster Manual. D&D ’s Monster Manual. NuMicro Family User Manual © Nuvoton Technology Corp.g. This is the Conversion Manual by Skip d&d conversion manual pdf Williams for converting Advanced Dungeons and Dragons (AD&D, Second Edition) characters into the Dungeons and Dragons (D20, Third Edition) System. Club Car & Yamaha See the installation instructions provided with d&d conversion manual pdf the controller adapter kits for these golf cars. Celebrate 45 Years of D&D/5 Years of D&D Fifth Edition D&D SAPPHIRE ANNIVERSARY DICE SET. to 5E simple conversion guidelines.
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Many of the favorite monsters and magic have been brought over from third to fourth edition but this guide will give you some ideas on how to convert anything else you might want. Jun 03, · D&D 5e: Backward Compatibility and Combat Math The announcement of the free D&D Basic PDF and potential licensing arrangements coming in has a lot of the gaming internet wondering about the future d&d conversion manual pdf of Open Gaming License (OGL) systems., 12 x 4 - Model XYZ, fpm at cfm ACCA’s Manual D Residential Duct Design Checklist For a more detailed analysis. Going through my piles of old D&D material I came across an interesting paperback document I bet not many people still possess, the D&D Conversion Manual by Skip [HOST] specifically this was the manual to help switch your 2E characters over to the then new 3E [HOST]: Mike Bridges. Choose your d&d conversion manual pdf race, class and more, inspired from classic Elder Scrolls games.The game rules were reorganized and re-codified across three hardcover rulebooks, compiled by Gary Gygax, incorporating the original D&D rules and many additions and revisions from supplements and magazine articles.
Usually every week one or Author: Mike Bridges. These are the 5th edition D&D conversion rules made by me. View and Download VIP Video Converter user manual online. not over the Regen controller. I'll probably pick this up. Temple of Elemental Evil Conversion Notes D&D Monster Manual. The pamphlet was originally 5/5(5).
Conversions to 5th Edition D&D This document provides guidelines for converting charac - ters and adventures from earlier editions of Dungeons & Dragons to the fifth edition. I ran across a bunch of monster conversion guides today and since a lot of people are searching for this info right now, here are the links: 2E to 5E simple conversion guidelines. A comprehensive list of all official monsters for Fifth Edition. Conversion Manual AD&D to D20 - Free download as PDF File . The three core rulebooks were the Monster . In celebration of the new book, as well as Turkey Day, we present this d d&d conversion manual pdf table of variations on burp noises that you can either use in game or, if you are a monster, at your real life dinner d&d conversion manual pdf table. The first part of my conversion for the fantastic War of the Burning d&d conversion manual pdf Sky adventure path.
The free D&D v Accessory Update booklet provides you with a summary of the changes to the core rulebooks and the information you need to bring the Monster Manual II, Fiend Folio, Deities and Demigods, Epic Level Handbook, and the Manual of the Planes fully up to v of the game. Post Conversion Tasks 13 Post Conversion Tasks Follow the steps in these d&d conversion manual pdf sections to verify your contact information, listings, contacts, and saved searches were migrated to the CRMLS Matrix Platform. Aqui recogeremos todos los manuales que podamos recopilar en español sobre D&D y ya que una es una actualización de la otra y con muy pocos cambios se pueden adaptar los personajes y situaciones. Once you’ve verified that your information was transferred over, you can re-enable your auto prospects as necessary. Needed a break from all those constructs I’ve d&d conversion manual pdf been working on. The Conversion Manual is a small pamphlet handed out in game stores to accompany the release of the new edition of Dungeons & Dragons, that contains guidelines for converting a campaign from Second to Third Edition. I am jeddai and I have d&d conversion manual pdf a nearly full 5e Star Wars conversion for you, but unlike most Star Wars D&D things ours is set in the Old Republic Era.
It includes rules for converting characters, monsters, feats, spells, prestige classes, and magic items from the version of the rules to the Pathfinder Roleplaying Game/5(2). The file extension - PDF and ranks to the Documents category. Finally. There is also a section on converting monsters. 3 Quick Reference Guide ( KB) PDF Create! Oct 10, · I see that this was written when only the Dungeons & Dragons Starter Set version of the D&D Basic Rules had been published. Manual NPC Converter: (PDF format) Eldritch Weapons Simple system for generating magical relics.
User Summary: A guide to convert AD&D 2nd edition characters to D&D 3rd edition. The free D&D v Accessory Update booklet provides you with a summary of the changes to the core rulebooks and the information you need to bring the Monster Manual II, Fiend Folio, Deities and Demigods, Epic Level Handbook, and the Manual of the Planes fully up to v of the game. Sep 19, · Monster Manual Basic Rules you can convert web page to PDF. Video Converter Software pdf manual download. Gritty Realistic D&D 5e.
The Unofficial Elder Scrolls TRPG D&D 5e Conversion. Care Coordination Organization/Health Home (CCO/HH) Provider Policy Manual 4 | P a g e Version July Preface Beginning July 1, , New York State will initiate the transformation of OPWDD’s. Download D&D Monster Manual 5th Edition PDF by Wizards RPG Team. The aim of conversion is to arrive at something that feels like the older-edition version, rather than at an exact repli -. Use the download button below or simple online reader.
D&D NPC Converter: Convert a D&D monster to Savage Worlds. We are very close to having it done, d&d conversion manual pdf and so far almost everything has been play tested in a summer-long campaign, d&d conversion manual pdf excluding the Adept class and a revamped Mercenary class. In honor of the original release year of Dungeons & Dragons, sets of this custom-crafted treasure will be available to the public for this special occasion! You should be aware that this initial setup phase may. VMware Converter Editions VMware Converter comes in two editions, Starter and Enterprise, to meet the particular need of different users and use cases.


I created the TwitterTools Python library to help automate many account management and posting activities for Twitter/X. Its primary functionality is to automate –
- Scraping to find relevant users to follow
- Account following
- Account unfollowing
The library can be installed by downloading and pip installing the latest wheel file in Releases.
pip install TwitterTools-1.3.14-py3-none-any.whl
The library source code is located in the
TwitterTools directory, and the tests files / resources are located in the
tests directory. Jupyter notebooks that serve as a makeshift UI for primary actions are located in
│ |── User.py
│ |── crawler.py
│ |── data_tools.py
│ |── data_tools.py
│ |── driver_tools.py
│ |── flows.py
│ └–– user_management.py
|── tests files
└–– Files used within tests
User.py– class representing a Twitter user (account details and whether or not I follow them and they follow me)
crawler.py– functions for the Selenium driver that manages browser crawling / scraping activity
data_tools.py– functions that manipulate Pandas dataframes, change data structures into different forms, and properly save / read data for a given project
driver_tools.py– properly sets up Selenium driver and logs into Twitter
flows.py– primary functions for an end user. These represent the main activities for the library.
user_management.py– various analysis functions for Users
Notebooks / GUI
Since no formal GUI exists for this library, Jupyter notebooks are provided as a makeshift user interface. Detailed instructions are in the notebooks for completing various Twitter activities with the library. Additionally, an intentional design choice was made to use Excel to save data rather than a database. A database would be a preferable choice in the future if an additional GUI is created. However, some of the data must be manipulated manually by the user (ex – adding some accounts to skip while manually reviewing). This would be extremely tedious to manually run database commands for each addition. So, Excel provides a nice makeshift UI in the absence of a formal interface. With a formal UI in the future, each Excel file could be easily migrated to database tables.
This library is thoroughly tested with
Pytest for each release. Before making any change within the library, it’s recommended to run the full testing suite to ensure nothing breaks. To run the suite, run the following command after navigating to the root directory of the project. You should get a result like the image that follows.
python3 -m pytest tests/
Suggested follower scraping
flows.update_excel_file_with_accounts_to_follow() uses various auto-scrolling techniques to scrape Twitter to find useful accounts to follow. This includes –
- Scraping the followers of related accounts
- Scraping users from specified search queries
- Scraping interactions (retweets, quotes, likes) from specified posts
This method additionally skips any user that has been previously followed by the account to avoid spamming the same accounts repeatedly. Also, the library can further screen scraped users using
flows.validate_accounts_to_follow() by systematically navigating to their profiles and checking if each user has recent activity, has a certain threshold of followers, and has at least a certain number of total posts / likes.
Using the data scraped from the techniques described above to scrape relevant accounts, the library can open tabs automatically for following users using
crawler.open_tabs_for_unfollowing(). This method opens tabs with random pauses in between to avoid Twitter’s rate limits.
flows.update_my_following_data() scrapes the logged-in user’s current following and updates saved data.
crawler.open_tabs_for_unfollowing() analyzes the saved following data and opens tabs to unfollow those that haven’t followed back after a specified number of days. It randomly pauses between tabs to avoid Twitter rate limits.


We had an amazing time at our open house! Many friends stopped by & enjoyed seeing our three story panels & hearing some of the stories that were recorded for our website. You can stop by the Bemus Point Library to view our story panels & hear about the project. If you would like to share your story, please contact the Bemus Point Library at (716) 386-2274.
The Bemus Point Heart & Soul showcase is tonight from 7-9 pm at the library. This is a open house. Please stop by to learn about our progress on the project, and view the website and panels that have been created. We will also have yummy cheese from Cadwell’s Cheese House, and wine from Bag & String Wine Merchants. Thank you for your support!
The Bemus Point Heart and Soul Project is looking for storytellers! Bemus Point Heart & Soul is a community building project that weaves stories and multimedia materials to present a picture of the rich history, culture, and identity of the Bemus Point Community. The project, which is sponsored by the Bemus Point library, held a community meeting in June to talk about the project and ask for community contributions and volunteers. Since the initial meeting the project has generated interest in the community, and a number of people have signed up to either record stories or tell a story.
The project would like stories about Bemus both past and present. The stories should be heartfelt, short, and reflect a personal connection to the Bemus area. Participates can either record their stories with a volunteer at the Bemus Point library or email/mail a written story for the website. The stories will be used to create five “graphic story boards” that will be displayed around the Bemus Point community.
If you have a story to tell or would like more information about the project please contact the Bemus Point library at 716.386.2274 or email email@example.com. The Bemus Point library is located at 13 Main Street, PO Box 428, Bemus Point, NY 14712.
This is a packet of information on how to use our audio recorders. It contains information on what makes a good story, and offers pointers on how to tell a good story. It also provides guidelines for what a story gather should do to make the storyteller comfortable and welcomed.
We are looking for storytellers and story gathers, or both! Please contact us if you are interested in participating in our project. Thank you.
Story Gathering Training Materials
On Saturday July 21 the Bemus Point Heart & Soul Project will be featured on WJTN’s Time of Your Life radio program. Please tune in at 10:00 am at 1240 am to hear more about our project and progress!
Our next “story-gathering” training will be Sunday July 8 at 2:00 pm in the Bemus Point Library. Please come and learn how to be a story recorder and how get involved in this wonderful community project. If you have any questions please call us at 716-386-2274. We look forward to seeing you.


Émilie Pigeard - Biography
born in 1990, the 10th april at Les Lilas (France)
Émilie was born in 1990 in the French town Les Lilas. She dreamed of becoming either a magician or a lawyer. In the end, after a year at the Sorbonne and a foundation year at the Atelier de Sèvres art school, she entered the prestigious Arts Décoratifs school in Paris, specializing in Animation. Alongside painting, illustration and animation, Émilie has a natural flair for storytelling, as well as a great sense of humour. After five years of research, much wordplay and some hard graft, she earned a distinction for her short graduation film Encore un gros lapin ? (or Big bunny again?) which was noticed and produced by Les Films Sauvages.
In 2014, Émilie studied at the German Hochschule für Film und Fernsehen (HFF) as part of an Erasmus exchange. There she met Anna Bergmann, a German film-maker who shared the same enthusiasm for animated movies. They got on so well that, the next summer, Anna asked her to come and help her with her latest movie in Chicago, then in New York in November 2015.
During this time, Émilie had the chance to discover the vivid imagination of Anna's four-year-old son, Lucas. The drawings and notebooks they made together formed the inspiration for a series of illustrations depicting the crazy American lifestyle. These improvised workshops with her new-found disciple gave a new direction to her work. Taking advantage of the busy New Yorkers' schedules, and on the principle of 'the more the merrier', she started organizing art workshops for kids aged 3 to 6.
Since then Émilie has been making films as a freelancer in Paris, while continuing to draw and run workshops for kids (until the next trip).
Émilie Pigeard - Filmography
Producted by Les Films du Nord and La Boîte,... Productions
Other production studios


The Complete Asian Cookbook
$50.00 (as of February 4, 2019, 2:37 am) & FREE Shipping. Details
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That is the contemporary edition of Charmaine Solomon’s influential and iconic The Complete Asian Cookbook. Right away heralded as a classic when it used to be first published in 1976, The Complete Asian Cookbook covers 800 classic and up to date dishes from 15 countries (India, Pakistan, Sri Lanka, Indonesia, Malaysia, Singapore, Burma, Thailand, Cambodia, Laos, Vietnam, The Philippines, China, Korea and Japan). Written with the home cook in mind, Charmaine’s recipes are straightforward, simple to follow and work each time. Recipe and chapter introductions give valuable information about how local dishes are prepared and served, even as the comprehensive glossary explains unfamiliar ingredients (which might be regularly more commonplace in supermarkets nowadays). The Complete Asian Cookbook is a book that belongs in the kitchens of each household.


Section 59.56, Wis. Statutes, governs the powers, duties and responsibilities of this Committee. This Committee shall serve as the governing committee for the University of Wisconsin – Extension Department, its agents, the Cooperative Extension Education Program, and the County Library Services. For the purposes of § 59.56(3)(g), Wis. Statutes, the university extension program shall be a department of County government, and the Agriculture-Extension Education and Fair Committee shall be the committee which is delegated the authority to direct and supervise the department. Program functions are established under § 59.56(3)(f), Wis. Statutes, and authorization is given to this Committee to direct, conduct and supervise these programs. The Agriculture-Extension Education and Fair Committee may enter into joint agreements with the University of Wisconsin – Extension or with other counties and university extension if County funds committed in such agreements have been appropriated by the County Board. The County Administrator is authorized to execute such agreements and copies of such agreements will be filed in the County Clerk’s office. The Agriculture-Extension Education and Fair Committee shall administer and maintain those items as listed in the fair inventory of the Green Lake County Junior Free Fair as filed annually with the office of the Green Lake County Clerk and for the purposes of administration shall be the governing Board of Directors for the Green Lake County Junior Free Fair. The Committee shall work in cooperation with the University of Wisconsin – Extension Office in coordinating activities relating to the County Fair. Section 59.56(14), Wis. Statutes, Fairgrounds and Fairs, § 93.23, Wis. Statutes, Local Fairs, and Ch. ATCP 160, Wis. Adm. Code, shall govern the powers, duties, and responsibilities of the Fair Board, state aids, premium lists, fair rules, regulations and financial reporting. The Agriculture-Extension Education and Fair Committee shall have the power and duty to manage and maintain the fairgrounds during the Green Lake County Junior Free Fair. The Committee shall have the authority to contract entertainment services. The Committee shall have the authority to contract services and/or hire such personnel as it deems necessary for the adequate management and maintenance of said facilities and grounds (in preparation for and during the fair and cleanup) within the limit of funds appropriated for this purpose by the County Board, state aid, donations and grants. The Board of Directors shall submit an annual financial report to the Department of Agriculture, Trade and Consumer Protection in a format as required by Sec. ATCP 160.92, Wis. Adm. Code. Publication of the financial report shall be in accordance with Sec. ATCP 160.92(6), Wis. Adm. Code, and § 93.23(1)(a) to (i) and Ch. 985, Wis. Statutes.
The Agriculture-Extension Education and Fair Committee shall consist of five Supervisors appointed by the County Board Chair and confirmed by the Board of Supervisors. Each Committee member shall serve a term of two years.
Two (2) years
Second Tuesday of each month.
County Board Room, Government Center, 571 County Road A, Green Lake WI 54941.
For the exact date/time and location of meetings, please refer to the calendar of events.
More information can be found in Ordinance 11-2018 regarding the Ag/Ext Education & Fair Committee.