Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Cemetery Miasma, Sex & Blood, Iron Nerve & Vanity, Renewal, At the Gates of Hell, The Book of Creation, Daemonum Desperatio, Time Destroys Everything, and 221 more. , and , . Excludes supporter-only releases.
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The Sword of the Bastard Elf is an epic single player gamebook adventure of ludicrous size and scope. It's more than 350,000 words long with 1825 sections to jump around and more than 100 original illustrations to gaze at (in your choice of full colour or black and white line art). It also includes a beer and pretzels role playing game for a "Dungeon Bastard" and up to four players, and an introductory scenario to get you started.
Featuring writing by the weird and enigmatic Herman Skull, illustrations by the humble and enigmatic S. Iacob and a never-before-seen illustration by fantasy art legend Tony Hough (Fighting Fantasy illustrator for Spectral Stalkers, Night Dragon, Knights of Doom and Bloodbones), there's a lot of entertainment right here! It's certainly not a gamebook you'll get to see all of in a single sitting, or probably even ten sittings, with plenty of different ways to get to your goal, or die somewhere outside being eaten by something horrible. However you go out you're guaranteed to have a good time doing it, as every page drips with a combination of black and very low-brow humour.
A lot of love has gone into this tome. You'll notice the PDF is hyperlinked so you can click your choices to go to the page number you want, and the 170+ items are illustrated and listed in the back of the book for your item-hoarding convenience. There are multiple print versions so you can pick the experience you want: an old-school black and white soft cover book with chunky line art, or an insanely heavy hardcover book in full colour. If enormous tomes aren't your style there's also now a travel edition which packs all this into a man-portable brick of a book (get it here). All versions have the same berserk quests, the same brutal and weird humour and the same goldbrick of an elf to guide about a world that is thoroughly uninterested in his continued survival.
If you spring for one of the print versions you will own one of the biggest behemoths possible to pack into your bookcase. The stunning full-colour hardcover version weighs in excess of 2kg and commands the respect and awe of anyone entering the room. The slightly more reserved but still utterly huge black and white version will still dominate the bookshelf while also being just portable enough to lug around with you when you go places.
You can get a couple of things to help you in playing this book : a deck of item cards (regular cards or a print & play/digital reference version) or a special pre-printed card book with a lot more information about the items you'll pick up and the world you're stumbling around in when you play this game. A bit later on there'll be a Bestiary with even more info, hints and tips and useless jokes. But you don't need any of that stuff to jump in - all you need is a couple of dice and your two rock-hard fists!
Warning: This is not for little kids! While there's nothing overtly sexual or extremely horrible going on here there are some very weird characters, something called a phalloknight, lots of codpieces, an unpleasant dragon and some violent situations which could put anything younger than a teenager off gamebooks forever. Also they won't get the really good jokes.
Born in Philadelphia in 1943, R. Crumb has used the comic-book medium to address the absurdity of social conventions, political disillusionment, irony, racial and gender stereotypes, sexual fantasies and fetishes. Inspired by Thomas Nast, Honoré Daumier and T.S. Sullivant, among others, his drawings offer a satirical critique of consumer culture.
AB: Straight off the bat, it was a matter of figuring out what characters were going to be going together along with possible names for the combos. After that I grabbed my pens and notebook and just started sketching out ideas. Then brought it back into Illustrator and tried a few of the ideas in a couple different styles. Found one that I liked and ran with it.
The title and the copyright pages are by far the most essential front matter pages. The title page displays the official data about the book. Do not add anything else, aside from possibly a small illustration or an unobtrusive background pattern. An exception can be made for a picture book, which might include a 2-page illustration that effectively combines a frontispiece with the title page. Include:
Nonfiction books and anthologies need a table of contents to list the chapters or articles. Some fiction authors want a table of contents, too; we leave this up to you. (We have met authors who are confused about the difference between the Contents and the Index. They are not the same.)
Strictly speaking, the Introduction is not part of the book front matter at all. In most cases, it should appear after all of the other front matter sections, and should begin on page 1 (arabic numeral).
In the Introduction you explain the usefulness of the book for your audience(s) and, in some cases, how to use it. The information should be vital to the enjoyment or usefulness of this book. Be sure you really need this section; you may have already incorporated much of this information in the Preface or the first couple of chapters.
Read more: Book front matter is a short excerpt about front matter from Book Design Made Simple.Read more: Book running heads explains what your running heads or running feet should say.Read more: Text variables in InDesign demonstrates how to insert running head copy on your book pages automatically.
Hi, I have a question. I am publishing a collection of short stories. I have a half title page, title page, copyright (on the verso of the title page) and then a table of contents. So my content begins on page 7. Is it OK to begin numbering my book at the first page of the first story as page 7 or should I call it page 1? Is there a convention about this?
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During the years of the Eisenhower presidency, 1953-1961, Los Angeles was a hub of conservative provinciality. Progressively-minded West Coast artists tended to congregate in San Francisco. An insightful new book by UC Press, Welcome to Painterland, Bruce Conner and the Rat Bastard Protective Association bring to light the collective and individual accomplishments of the range of artists who lived in a small apartment building at 2322 Fillmore Street.
Aukeman has organized an exhibition based on the findings of her book at the Landing gallery through January 7, 2017. It includes an open-minded selection of art by some of these artists as well as ephemera from the period. Conner titled his 1958 assemblage with a carrying handle and made of old nylon stockings, canvas and newsprint Rat Bastard, a thing so disreputable that bringing it with him to his interview with the draft board got him dismissed from service. It's All True, a retrospective of Conner's work, is at the San Francisco Museum of Modern Art through January 29, 2017. Perhaps that is why there is only one assemblage and few works on paper at the Landing but there is compensation in the excellent selection of early assemblage by George Herms such as "Wooden Star" (c. 1960), the six-pointed Star of David painted white and topped with a four-petaled flower made of tin cans.
In this characteristically turbocharged new book, celebrated Rolling Stone journalist Matt Taibbi provides an insider's guide to the variety of ways today's mainstream media tells us lies. In the internet age, the press have mastered the art of monetizing anger, paranoia, and distrust. Taibbi, who has spent much of his career covering elections in which this kind of manipulative activity is most egregious, provides a rich taxonomic survey of American political journalism's dirty tricks.
Want an amazing editor for your own project? Victoria Rose (she/her) is an editor, writer, avid reader, self-described geek, and fan of all things creative. You can find her at FlickeringWords.com. Lindsay Hobbs (she/her) is a book lover, fiction editor, occasional writer, and cat mom. You can find her at topazliterary.com. We had a truly wonderful experience working with both of them. Their eye for detail was incredible, and they knew how to change our words without changing our meaning. Most of all, they believed in the project and they treated our work with love. If you need an editor for your writing project, you should see if either of them have an opening.
Want to hear us get sappy? The Sad Bastard Cookbook was the work of the community coming together. From professional editors volunteering their time, to complete strangers suggesting recipes, it was truly a wonderful experience to create something meaningful with so many of you. We hope it help you find food you can eat, and helps you know that you are loved. Please, take care of yourself. 2ff7e9595c
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