Jonathan Dark, or Jandar, is mysteriously transported from Earth to the Jovian moon of Callisto (or Thanator), and has succeeded in freeing the city of Shondakar from the occupying Black Legion and the opportunistic Zandaharian Sky Pirates. The only problem is that Shondakar's rightful ruler, the princess Darloona, has been abducted by the fleeing Prince Thuton of Zandahar. To free her, Jandar takes one of the Sky Pirates' captured airships to raid the enemy city.
Jonathan Dark, an airplane pilot transporting medical supplies in Southeast Asia, is forced down in the jungles of Cambodia, where he slides into a well and teleports to another world.
Far from his adopted home, the Golden City of Shondakor, Koja, self-exiled insectoid of the Yathoon Horde, has blundered into the savage land he had renounced, accompanied only by little Taran, ward of Prince Jandar. Lost in the treacherous scarlet plains, the two are hurled to separate, unnamable fates - Taran forsaken in shackles, along with the lovely Princess Xara, while the renegade Koja is locked on a perilous course of vengeance for the evils done to his clan. All destinies collide at the Great Yathoon Games in the hidden valley of Sargol - the impenetrable citadel girdled by a seething mote of flames.
From renowned artist Gregory Manchess comes a lavishly painted novel about the son of a famed polar explorer searching for his stranded father, and a lost city buried under snow in an alternate future. When it started to snow, it didn’t stop for 1,500 years. The Pole Shift that ancient climatologists talked about finally came, the topography was ripped apart and the weather of the world was changed—forever. Now the Earth is covered in snow, and to unknown depths in some places. In this world, Wes Singleton leaves the academy in search of his father, the famed explorer Galen Singleton, who was searching for a lost city until Galen’s expedition was cut short after being sabotaged. But Wes believes his father is still alive somewhere above the timberline. Fully illustrated with over 120 pieces of full-page artwork throughout, Above the Timberline is a stunning and cinematic combination of art and novel.
CAPTAIN FUTURE--GREAT ENEMY OF EVIL--IS CALLED ON TO SAVE HUMANITY: James Carthew, President of the Solar System, watched from the government tower, his face lined with worry. Outside thousands of people were demonstrating. Once loyal citizens, they now urged Carthew to yield his power to a diabolic stranger named Dr. Zarro--a being from another mysterious system who had hypnotized the entire population with fear. Carthew knew that Zarro would surely destroy humanity, but how could he prove it? There was only one man who could--perhaps--help him. "Calling Captain Future!" The message beeped urgently from the high tower, out across the heavens. "Calling Captain Future!"
Hyper-reality. The area between the thriving mass of humanity known as the Sprawl and the digital refuge of Cyberspace. This is your playground. As a Showrunner, you can see and manipulate the flow of digital data through the real world – for you, reality is limitless. Welcome to Reality's Edge, a skirmish wargame set in a dystopian cyberpunk future, where players take on the roles of Showrunners – mercenary hackers who lead small teams of trusted operatives and disposable freelancers. Funded by shadow backers, the Showrunners accept jobs from faceless clients for profit, glory, and better chrome... always better chrome. Battles take place in the concrete jungle known as the Sprawl, but Showrunners must remain wary of the threat posed by Cyberspace. Hacking is pivotal to the game, with data nodes, robots, machines, and even enemy chrome presenting potential targets for a cunning Console Cowboy. In an ongoing campaign, each skirmish offers you the opportunity to earn experience and equipment, from advanced weaponry and synthetics to cyber-implants, biological enhancements, clones, and much more. This is a world obsessed with whether something can be done, not whether it should.
This extract from Ovid's 'Theban History' recounts the confrontation of Pentheus, king of Thebes, with his divine cousin, Bacchus, the god of wine. Notwithstanding the warnings of the seer Tiresias and the cautionary tale of a character Acoetes (perhaps Bacchus in disguise), who tells of how the god once transformed a group of blasphemous sailors into dolphins, Pentheus refuses to acknowledge the divinity of Bacchus or allow his worship at Thebes. Enraged, yet curious to witness the orgiastic rites of the nascent cult, Pentheus conceals himself in a grove on Mt. Cithaeron near the locus of the ceremonies. But in the course of the rites he is spotted by the female participants who rush upon him in a delusional frenzy, his mother and sisters in the vanguard, and tear him limb from limb.The episode abounds in themes of abiding interest, not least the clash between the authoritarian personality of Pentheus, who embodies 'law and order', masculine prowess, and the martial ethos of his city, and Bacchus, a somewhat effeminate god of orgiastic excess, who revels in the delusional and the deceptive, the transgression of boundaries, and the blurring of gender distinctions.This course book offers a wide-ranging introduction, the original Latin text, study aids with vocabulary, and an extensive commentary. Designed to stretch and stimulate readers, Gildenhard and Zissos's incisive commentary will be of particular interest to students of Latin at AS and undergraduate level. It extends beyond detailed linguistic analysis to encourage critical engagement with Ovid's poetry and discussion of the most recent scholarly thought. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
