FALLOUT dS

U iy

Судейская таблица.

of verse that is a kind of miniature elegy: "An evil beast has devoured him,/torn, oh torn, is Joseph" (Gen. 37:33). The second verset is at once a focusing of the act of devouring and an incipiently narrative transition from the act to its awful consequence: a ravening beast has devoured him, and as the concrete result his body has been torn to shreds. We see another variation of the underlying pattern in the line of quasi-prophetic (and quite mistaken) rebuke that the priest Eli pronounces to the distraught Hannah, whose lips have been moving in silent prayer: "How long will you be drunk?/Put away your wine!" (i Sam. 1:14). Some analysts might be tempted to claim that both versets here, despite their semantic and syn­tactic dissimilarity, have the same "deep structure" because they both express outrage at Hannah's supposed state of drunkenness, but I think we are in fact meant to read the line by noting differentiation. The first verset suggests that to continue in a state of inebriation in the sanctuary is intolerable; the second verset projects that attitude forward on a tem­poral axis (narrativity in the imperative mode) by drawing the consequence that the woman addressed must sober up at once.

Beyond the scale of the one-line poem, this element of narrativity between versets plays an important role in the development of meaning because so many biblical poems, even if they are not explicitly narrative, are concerned in one way or another with process. Psalm 102 is an instructive case in point. The poem is a collective supplication on behalf of Israel in captivity. (Since it begins and ends in the first-person singular, it is conceivable that it is a reworking of an older individual supplication.) A good many lines exhibit the movement of intensification or focusing we observed earlier. Verse 3 is a good example: "For my days have gone up in smoke,/my bones are charred like a hearth." Other lines reflect complementarity, such as verse 6: "I resembled the great owl of the desert,/I became like an owl among ruins." But because the speaker of the poem is, after all, trying to project a possibility of change out of the •wasteland of exile in which he finds himself, a number of lines show a narrative progression from the first verset to the second because something is happening, and it is not just a static condition that is being reported. Narrativity is felt particularly as God moves into action in history: "For the Lord has built up Zion,/he appears in his glory" (v. 16). That is, as a consequence of his momentous act of rebuilding the ruins of Zion (first verset), the glory of the Lord again becomes globally visible (second verset). Then the Lord looks down from heaven "to listen to the groans of the captive,/to free those condemned to death" (v. 20)—first the lis­tening, then the act of liberation. God's praise thus emanates from the rebuilt Jerusalem to which the exiles return "when nations gather together, /and kingdoms, to serve the Lord" (v. 22). Elsewhere in Psalms, the gathering together of nations and kingdoms may suggest a mustering of armies for attack on Israel, but the last phrase of the line, "to serve [or worship] the Lord," functions as a climactic narrative revelation: this assembly of nations is to worship God in his mountain sanctuary, now splendidly reestablished. In sum, the narrative momentum of these indi­vidual lines picks up a sense of historical process and helps align the collective supplication with the prophecies of return to Zion in Deutero-Isaiah, with which this poem is probably contemporaneous.

This last point may begin to suggest to the ordinary reader, who with good reason thinks of the Bible primarily as a corpus of religious writings, what all these considerations of formal poetics have to do with the urgent spiritual concerns of the ancient Hebrew poets. I don't think there is ever a one-to-one correspondence between poetic systems and views of reality, but I would propose that a particular poetics may encourage or reinforce a particular orientation toward reality. For all the untold reams of com­mentary on the Bible, this remains a sadly neglected question. One symp­tomatic case in point: a standard work on the basic forms of prophetic discourse by the German scholar Glaus Westermann never once mentions the poetic vehicle used by the Prophets and makes no formal distinction between, say, a short prophetic statement in prose by Elijah and a complex poem by Isaiah.⁶ Any intrinsic connection between the kind of poetry the Prophets spoke and the nature of their message is simply never contem­plated.

Biblical poetry, as I have tried to show, is characterized by an inten­sifying or narrative development within the line; and quite often this "horizontal" movement is then projected downward in a "vertical" fo­cusing movement through a sequence of lines or even through a whole poem. What this means is that the poetry of the Bible is concerned above all with dynamic process moving toward some culmination. The two most common structures, then, of biblical poetry are a movement of intensification of images, concepts, themes through a sequence of lines, and a narrative movement—which most often pertains to the development of metaphorical acts but can also refer to literal events, as in much pro­phetic poetry. The account of the Creation in the first chapter of Genesis might serve as a model for the conception of reality that underlies most of this body of poetry: from day to day new elements are added in a continuous process that culminates in the seventh day, the primordial sabbath. It would require a close reading of whole poems to see fully how this model is variously manifested in the different genres of biblical poetry, but I can at least sketch out the ways in which the model is perceptible in verse addressed to personal, philosophical, and historical issues.

The poetry of Psalms has evinced an extraordinary power to speak to the lives of countless individual readers and has echoed through the work of writers as different as Augustine, George Herbert, Paul Claudel, and Dylan Thomas. Some of the power of the psalms may be attributed to their being such effective "devotions upon emergent occasions," as John

Donne, another poet strongly moved by these biblical poems, called a collection of his meditations. The sense of emergency virtually defines the numerically predominant subgenre of psalm, the supplication. The typi­cal—though of course not invariable—movement of the supplication is a rising line of intensity toward a climax of terror or desperation. The paradigmatic supplication would sound something like this: You have forgotten me, О Lord; you have hidden your face from me; you have thrown me to the mercies of my enemies; I totter on the brink of death, plunge into the darkness of the Pit. At this intolerable point of culmina­tion, when there is nothing left for the speaker but the terrible contem­plation of his own imminent extinction, a sharp reversal takes place. The speaker either prays to God to draw him out of the abyss or, in some poems, confidently'asserts that God is in fact already working this won­drous rescue. It is clear why these poems have reverberated so strongly in the moments of crisis, spiritual or physical, of so many readers, and I would suggest that the distinctive capacity of biblical poetics to advance along a steeply inclined plane of mounting intensities does much to help the poets imaginatively realize both the experience of crisis and the dra­matic reversal at the end.

Certainly there are other, less dynamic varieties of poetic structure represented in the biblical corpus, including the Book of Psalms. The general fondness of ancient Hebrew writers in all genres for so-called envelope structures (in which the conclusion somehow echoes terms or whole phrases from the beginning) leads in some poems to balanced, symmetrically enclosed forms, occasionally even to a division into parallel strophes, as in the Song of the Sea (Exod. 15). The neatest paradigm for such symmetrical structures is Psalm 8, which, articulating a firm belief in the beautiful hierarchical perfection of creation, opens and closes with the refrain "Lord, our master, /how majestic is your name in all the earth!" Symmetrical structures, because they tend to imply a confident sense of the possibility of encapsulating perception, are favored in particular by poets in the main line of Hebrew Wisdom literature—but not by the Job poet, who works in what has been described as the "radical wing" of biblical Wisdom writing. Thus the separate poems that constitute chapters 5 and 7 of Proverbs, though the former uses narrative elements and the latter is a freestanding narrative, equally employ neat envelope structures as frames to emphasize their didactic points. The Hymn to Wisdom in Job 28, which most scholars consider to be an interpolation, stands out from the surrounding poetry not only in its assured tone but also in its structure, being neatly divided into three symmetrical strophes marked by a refrain. Such instances, however, are no more than exceptions that prove the rule, for the structure that predominates in all genres of biblical poetry is one in which a kind of semantic pressure is built from verset to verset and line to line, finally reaching a climax or a climax and reversal. This momentum of intensification is felt somewhat differently in the text that is in many respects the most astonishing poetic achievement in the biblical corpus, the Book of Job. Whereas the psalm-poets provided voices for the anguish and exultation of real people, Job is a fictional character, as the folktale stylization of the introductory prose narrative means to intimate. In the rounds of debate with the three Friends, poetry spoken by fictional figures is used to ponder the enigma of arbitrary suffering that seems a constant element of the human condition. One of the ways in which we are invited to gauge the difference between the Friends and Job is through the different kinds of poetry they utter—the Friends stringing together beautifully polished cliches (sometimes virtually a parody of the poetry of Proverbs and Psalms), Job making constant disruptive departures in the images he uses, in the extraordinary muscu­larity of his language line after line. The poetry Job speaks is an instrument forged to sound the uttermost depths of suffering, and so he adopts movements of intensification to focus in and in on his anguish. The intolerable point of culmination is not followed, as in Psalms, by a con­fident prayer for salvation, but by a death wish, whose only imagined relief is the extinction of life and mind, or by a kind of desperate shriek of outrage to the Lord.

When God finally answers Job out of the whirlwind, he responds with an order of poetry formally allied to Job's own remarkable poetry, but larger in scope and greater in power (from the compositional view­point, it is the sort of risk only a writer of genius could take and get away with). That is, God picks up many of Job's key images, especially from the death-wish poem with which Job began (chap. 3), and his discourse is shaped by a powerful movement of intensification, coupled with an implicitly narrative sweep from the Creation to the play of natural forces to the teeming world of animal life. But whereas Job's intensities are centripetal and necessarily egocentric, God's intensities carry us back and forth through the pulsating vital movements of the whole created world. The culmination of the poem God speaks is not a cry of self or a dream of self snuffed out but the terrible beauty of the Leviathan, on the uncanny borderline between zoology and mythology, where what is fierce and strange, beyond the ken and conquest of man, is the climactic manifes­tation of a splendidly providential creation which merely anthropomorphic notions cannot grasp.

Finally, this general predisposition to a poetic apprehension of urgent climactic process leads in the Prophets to what amounts to a radically new view of history. Without implying that we should reduce all thinking to principles of poetics, I would nevertheless suggest that there is a particular momentum in ancient Hebrew poetry that helps impel the poets toward rather special construals of their historical circumstances. If a Prophet wants to make vivid in verse a process of impending disaster, even, let us

ANCIENT HEBREW POETRY 623

say, with the limited conscious aim of bringing his complacent and way­ward audience to its senses, the intensifying logic of his medium may lead him to statements of an ultimate and cosmic character. Thus Jeremiah, imagining the havoc an invading Babylonian army will wreak:

I see the earth, and, look, chaos and void,

the heavens—their light is gone. I see the mountains, and, look, they quake,

and all the hills shudder (Jer. 4:23-24)

He goes on in the same vein, continuing to draw on the language of Genesis to evoke a dismaying world where creation itself has been re­versed.

A similar process is at work in the various prophecies of consolation of Amos, Jeremiah, Ezekiel, Isaiah: national restoration, in the develop­ment from literal to hyperbolic, from fact to fantastic elaboration, that is intrinsic to biblical poetry, is not just a return from exile or the reestab-lishment of political autonomy but a blossoming of the desert, a straight­ening out of all that is crooked, a wonderful fusion of seed-time and reaping, a perfect peace in which calf and lion dwell together and a little child leads them. Perhaps the Prophets might have begun to move in approximately this direction even if they had worked out their message in prose, but I think it is analytically demonstrable that the impetus of their poetic medium reinforced and in some ways directed the scope and extremity of their vision. The matrix, then, of both the apocalyptic imag­ination and the messianic vision of redemption may well be the distinctive structure of ancient Hebrew verse. This would be the most historically fateful illustration of a fundamental rule bearing on form and meaning in the Bible. We need to read this poetry well because it is not merely a means of heightening or dramatizing the religious perceptions of the biblical writers—it is the dynamic shaping instrument through which those perceptions discovered their immanent truth.

- NOTES

i.James L. Kugel, The Idea of Biblical Poetry (New Haven and London, 1981).

2. On the interplay of different elements of parallelism—semantic, rhythmic, and syntactic—see the incisive remarks by Benjamin Hrushovski in "Prosody, Hebrew," in Encyclopedia Judaica, VII (New York, 1971), 1200-02.

3. All translations in this essay are my own [at]. I follow the original rather literally in order to make certain aspects of the underlying poetics more perceptible in English.

4. Quoted in L. A. Sonnino, A Handbook to Sixteenth-Century Rhetoric (Lon­don, 1968), p. 157. 5- See, for example, Stanley Gevirtz, Patterns in the Early Poetry of Israel (Chicago, 1963), pp. 15-24.

6. Glaus Westermann, Basic Forms of Prophetic Speech, trans. H. C. White (London, 1967).

SUGGESTED FURTHER READINGS

Robert Alter, The Art of Biblical Poetry (New York, 1985).

John Bright, Jeremiah, Anchor Bible, XXI (Garden City, N.Y., 1965), pp. cxxvii-

cxxv. Benjamin Hrushovski, "Prosody, Hebrew," in Encyclopedia Judaica, XIII (New

York, 1971), 1200-01.

University of California, Berkeley

Ролевая система для вселенной Fallout

by Erl ([email protected]) v0.4

Эта система создана на основе слияния и переработки правил двух совершенно разных систем настольных ролевых игр – системы Fallout S.P.E.C.I.A.L. и d20 System. Цель, которую я ставлю перед собой – сделать систему простой, интересной и добиться высокого уровня реалистичности игровой системы. И, конечно же, сохранить атмосферу Фаллаута на столько, на сколько это возможно для настольной игровой системы.

Выражаю благодарность Хмельницкому Алексею ([email protected]) за перевод базовых правил fallout s.p.e.c.i.a.l PnP, версии 1.2, авторам этих правил (до версии 2.0), а также Волшебникам Побережья (Wizard of the Coast) за сами знаете, что. Спасибо Дикевичу Алексею (Feanor, [email protected]) за здравую критику, поддержку и весьма дельные идеи. Отдельное спасибо всем игрокам, участвовавшим в обкатке правил. Спасибо Интерплаю и Блэк Айслэнду за то, что явили миру Fallout CRPG.

Содержание

FALLOUT dS. 1

Содержание. 1

ВВЕДЕНИЕ.. 2

Создание персонажа.. 3

Раса персонажа.. 3

Человек. 3

Гуль (упырь) 3

Супермутант. 4

Полумутант. 4

Дескло.. 4

Уникальные особенности.. 5

Характеристики персонажа.. 6

Описание основных характеристик. 6

Восприятие и органы чувств. 7

Определение параметров. 8

Навыки персонажа.. 8

Краткое описание навыков. 9

Перки.. 10

Карма.. 12

Дополнительные характеристики.. 13

Завершение. 14

НАВЫКИ.. 14

Описание навыков. 15

Оружейные навыки.. 15

Первая помощь. 15

Доктор. 16

Вождение. 16

Скрытность. 17

Взлом.. 17

Кража.. 18

Ловушки.. 18

Наука.. 18

Ремонт. 19

Разговор. 19

Торговля. 19

Азартные игры.. 20

Скаутинг. 20

ОРУЖИЕ И СНАРЯЖЕНИЕ.. 20

Оружие. 21

Повреждения в рукопашном бою... 21

Одноручное оружие ближнего боя. 21

Двуручное оружие ближнего боя. 23

Примитивное стрелковое оружие. 24

Пистолеты и револьверы.. 24

Пистолеты-пулеметы, одноручные. 25

Пистолеты-пулеметы, двуручные. 25

Дробовики.. 25

Винтовки и карабины.. 26

Штурмовые винтовки.. 27

Пулеметы.. 27

Огнеметы.. 28

Гранатометы и ракетницы.. 28

40мм гранаты и ракеты.. 28

Гранаты.. 29

Взрывчатка.. 30

Минометы.. 30

Мины.. 31

Энергетическое оружие, пистолеты.. 31

Энергетическое оружие, винтовки.. 31

Энергетическое оружие, большие пушки.. 32

Оружия бронетехники и огневой поддержки.. 32

Амуниция. 32

Типы боеприпасов. 33

Защитное снаряжение. 33

Шлемы и каски.. 33

Стандартная броня. 33

Моторизированная броня. 34

Предметы снаряжения. 35

Одежда.. 36

Емкости и сумки.. 37

Научно-позновательные брошюры и книги.. 37

Химия. 37

Имплантанты.. 39

Транспортные средства.. 40

Апгрейд Оружия. 41

Апгрейд техники.. 43

Состояние брони и оружия. 43

СРАЖЕНИЕ.. 44

Основные понятия. 44

Размер существа.. 44

Инициатива.. 44

Действия. 44

Действия перемещения. 44

Бездействие. 45

Стандартное перемещение. 45

Пройти на корточках.. 45

Бег. 45

Передвижение ползком.. 45

Прыжок. 45

Прочие действия перемещения. 45

ходьба спиной вперед и бег. 45

Усталость. 46

Размер существ и движение. 46

Стандартные действия. 46

Продолжающиеся действия. 46

Примеры стандартных действий.. 47

Выстрел. 47

Стрельба очередью... 47

Полная очередь. 47

Очередь веером.. 48

Прицельный удар или выстрел. 48

Снайперский выстрел. 48

Атака в ближнем бою и атака без оружия. 48

Бросок и метание. 49

перезарядка оружия. 49

Быстрый ремонт оружия. 49

Свободные действия. 49

Особые действия. 49

Задержка.. 49

Оценка обстановки.. 50

Ближний бой.. 50

Импровизированное оружие ближнего боя. 50

Несмертельное оружие. 50

Стрельба в ближнем бою... 50

Атака в ближнем бою оружием, требующим двуручный хват 50

Особые типы ударов и приемов. 50

Нападение. 50

Блок. 51

Напрыгивание. 51

Мощный удар. 51

Подсечка.. 51

Выбивание оружия. 51

Бросок. 51

Хлесткий удар. 52

Финт. 52

«Прямой» удар. 52

Оглушающий удар. 52

Захват. 52

Подлый удар. 52

Болевой прием.. 52

Удушение. 53

Перехват оружия. 53

Удар в прыжке. 53

«Инерционный» удар. 53

Пробивной удар. 53

Точечный удар. 53

«Двойной» удар. 54

Болевой удар. 54

«Ураганная» атака.. 54

Супер удар. 54

Смертельный удар. 54

Особые условия. 54

Стрельба с движущегося транспорта.. 54

Осторожный выстрел. 54

Стена огня. 55

Атака разными типами оружия. 55

Стрельба из двуручного оружия с одной руки и стрельба одноручным оружием с двух рук 55

Стрельба с двух рук (по македонски) 55

Атака двумя видами оружия в ближнем бою (двурукий стиль боя) 55

Стрельба с упора.. 55

Выстрел в упор. 55

Привыкание к оружию (необязательное правило) 55

Модификаторы ситуации.. 56

Укрытия. 56

Маскировка.. 56

Повреждения. 56

Определение точки попадания. 56

Направление атак и размер существ. 57

Локации повторного попадания. 57

Множественные попадания. 57

Сбивание с ног. 57

Повреждения особых типов оружия. 58

Гранаты.. 58

Ракеты.. 58

Огнеметы и огонь. 58

Взрывчатка и мины.. 58

Повреждения техники.. 58

Прочность и хиты предметов. 58

Повреждения от падения и крушения. 59

Повреждения от яда.. 59

Типы и эффекты яда: 59

Повреждения от радиации.. 59

Уровни радиоактивного излучения. 60

Эффекты радиации.. 60

Ранение головы.. 60

Критические раны.. 60

Уровень «Ужасная реальность». 61

Критические раны и оружие ближнего боя. 61

Определение критического попадания. 61

Последствия критических ран.. 61

Как пользоваться таблицами: 62

Поражение: Нога.. 62

Поражение: Живот. 62

Поражение: Торс. 62

Поражение: Рука.. 62

Поражение: Голова.. 62

Поражение: Хвост. 62

Поражение взрывом (поражается все тело) 62

Поражение ударом (поражается все тело) 62

Поражение огнем (поражения всего тела) 63

Критические неудачи.. 63

Таблица критических ошибок. 63

РАЗВИТИЕ ПЕРСОНАЖА И ВЕДЕНИЕ ИГРЫ... 63

Лечение. 63

Заражение крови.. 63

Смерть. 63

Случайные встречи.. 64

Расстояние встречи.. 64

Отношения. 64

Последователи.. 65

Опыт и уровни.. 65

Что такое уровни и чему они соответствуют?. 66

Боевой опыт. 66

Модификация боевого опыта.. 66

Опыт за Сложность ½, ¼ и «-». 66

Опыт за выполнение задач. 66

Опыт за ролевую игру.. 67

Как и когда давать опыт?. 67

Когда персонаж получает уровень. 67

Пошаговое создание персонажа (1го уровня) 67

Создание персонажа с уровнем выше первого.. 67

Обучение. 68

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