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Werewolf - The Rage Player s Guide

2009-03-18 - extension: pdf - size: 15 MB

Werewolf - The Rage Player s Guide

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WOD - Werewolf - The Apocalypse - Rage Across The World - Volume 1.pdf

2008-10-25 - extension: pdf - parts: 2 - size: 70 MB

WOD - Werewolf - The Apocalypse - Rage Across The World - Volume 1.pdf

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WOD - Werewolf - The Apocalypse - Rage Across The Heavens.pdf

2008-05-16 - extension: pdf - parts: 2 - size: 21 MB

WOD - Werewolf - The Apocalypse - Rage Across The Heavens.pdf

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Werewolf The Apocalypse: The Heart of Gaia (White Howler meets Wyrm)
Ultra rare clip of the abandoned game. In this scene, from what I've gathered, he find his (More)

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Andrzej Żuławski's The Devil (Diabeł) #4
Director: Andrzej Żuławski. Screenplay: Andrzej Żuławski. Cast: Leszek Teleszynski, Wojciech (More) Director: Andrzej Żuławski. Screenplay: Andrzej Żuławski. Cast: Leszek Teleszynski, Wojciech Pszoniak, Małgorzata Braunek, Iga Mayr, Monika Niemczyk and Wiktor Sadecki. Year: 1972 http://www.andrzej-zulawski.com/ International audiences unfamiliar with Polish politics might not know or care that his horror film was based on actual events from the turbulent 1960s, during which communist authorities provoked a group of Warsaw students into staging anti-censorship protests. This gave the powers that be an easy excuse to crack down on dissidents, leading to mass arrests and, in the process, striking a blow for free speech. Zulawski used this incident as the basis for his film, hiding it in costumes and throwing in a monster, but he doesn't depend on viewer familiarity with a specific incident; instead he paints a world of fear, oppression, and suppressed outrage that could happen anywhere, anytime. http://www.film.org.pl/europa/zulawski.html When Zulawski filmed The Devil, he told the Polish authorities he was making a period film set in the 18th-century, when the Prussians were invading Poland and killing everyone wholesale. The film opens during a hysterical prison break where a shell-shocked, brooding young man named Jakub (Leszek Teleszynski) is led away from captivity by a grinning, vaguely satanic man in black (Wojciech Pszoniak). Everyone around them is shrieking in hysteria, frantically trying to escape or wish themselves elsewhere, and moments later soldiers appear blasting everyone in sight with their muskets. Jakub and his strange benefactor take flight across a bleak, war-torn winter landscape with a hostage nun (Malgorzata Braunek), encountering madmen, theatre troupes, and nymphomaniacs along the way. Of course, the authorities watched The Devil, realized exactly what Zulawski was up to, and promptly banned the film for 17 years. Whether taken as a historical drama or a horror film, The Devil is unabashedly a parable about misappropriated anger against the forces of evil. Jakub is led home by his dark-clad benefactor, only to discover that everything has taken a turn toward the rancid and horrible. His father has committed suicide, his mother has transformed into a prostitute, his sister has been driven insane, and his fiancée has been forced into an arranged marriage with his best friend, who has turned into a political opportunist and turncoat. Leading him through this world turned upside down is the man in black, who continually whispers sarcastic platitudes in the hero's ear and inciting him to acts of extreme violence. Zulawski, whose films reach unparalleled heights of vitriolic insanity, stages elaborate sequences with Jakub either throwing himself into fits of rage or sinking into narcoleptic despair, and the man in black—the true devil of the movie, who even transforms into a literal werewolf at one point—ruthlessly egging him on toward oblivion. As Jakub slaughters at least a dozen or more people in the final third of the movie, one sees just how far a human being can be pushed or manipulated in the name of duty and honor. Zulawski, like Roman Polanski, was born into a world of bombs dropping overhead, and he was one of the few children in his family to survive WWII. No doubt, it's easy for him to re-imagine the contemporary world as a place of shifting allegiances and untrustworthy moral platitudes. As usual for his films, the camera hurtles vertically across rooms and fields and spirals around as the actors pitch their performances at maximum volume. Society for Zulawski is just a thin veneer used to disguise the horrible sadism and unhappiness lurking inside every human heart. The Devil would make for maudlin, depressing viewing if every scene didn't feel like explosions were being set off, sending the inmates of a madhouse free into the streets outside. Jeremiah Kipp October 4, 2007 Slant Magazine http://www.poster.com.pl/movie-pl5.htm (Less)

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