Although the film was valorised for its bold and rich production design and was praised as the cinematic phenomenon of technological artistry, Blade Runner was largely condemned and discarded as a curious and expensive debacle — full of powerful images yet plagued by inert intellectual rewards. Scott, they said, was far too interested in developing style rather than content, more interested in detailing his sets than developing his script. These views were and are unsatisfying. Academic and independent critics, however, were more patient in their efforts, more meditative in their appraisals.
Posted on October 21, by Bryce Lynch This will be long. I beg your understanding for my verbosity hypocrisy; this is the product of four years work. I have now reviewed every adventure in every print issue of Dungeon Magazine. I started in August ofafter spending several months locating issues.
It was a herculean effort and, several times, it broke me. Or maybe you do. I did every fantasy adventure and most of the sci-fi ones.
I generally reviewed them Wednesday, Thursday, and Fridays, taking notes and then writing the review on Saturday for posting the next Saturday morning on my review website tenfootpole.
I have review standards and strong beliefs on what makes a good adventure. First and foremost it has to be useful to the DM at the table while they running it. You can use it as inspiration, steal parts from it, or use it as a doorstop if you want, but, judged as an adventure, it has to be useful at the table.
My standards are VERY high.
A large part of being useful at the table is a writing style that allows the DM to scan the text quickly during play and locate information. The characters walk in to a room and the DM must quickly, in just seconds, locate the description, grok it, and relate it to the players.
Then as they react the DM must continue scanning and absorbing to react to their actions as guided by the DM text for the room. After this, we come to creativity, interesting encounters, and all the rest. But first, it has to be useful to the DM at the table.
Dungeon Magazine is an abject failure in this regard. Mountains of backstory, mountains of room text. All of it fights the DM running it at the table. If you are including something in the main text then it has to be directly useful for play.
It reveled in useless detail. I also empathize with their jobs, having to wade through garbage day after day. While my task was voluntary they had the extra pressure of mortgages and kids to raise.
As far as genres, the Oriental Adventures pieces were generally good, especially the earlier ones.
But as folklore-heavy adventure with talking animals and relatable situations then they score high. The Adventure Paths in Dungeon Magazine were generally dreadful.
The Mere of Deadmen series, a proto-adventure path, had a couple of decent ideas and adventures before becoming mired in boringness.
I generally found the first couple of adventures in the series interesting, and an occasional idea in later issues.
The trek through the jungle after a shipwreck in Tides had some nice set pieces. There was also a great diplomacy idea with demon lords in the same series.MSTS Abstract Submission Guidelines The MSTS Program Committee welcomes abstracts relative to all aspects of musculoskeletal oncology and limb salvage and are especially interested in the "Category" topics listed on the abstract submission.
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Phenomenal write up. This must have been a daunting task to say the least. I haven’t played D&D in a while but I’m hooked man.
I’d love to try Depths of Rage and The Spottle Parlor. The abstract is usually written after all the basic components of the paper have been written. The abstract is a distillation of the four major segments: introduction, methods, results, and discussion.
The abstract is organized along these subheadings. Economy is .