1644, and Civil War rages across England. Oliver Cromwell has taken charge of the opposition to King Charles the First and Cromwell's New Model Army is gaining victories. England is in chaos. Cromwell is a puritan who has vowed to wipe out evil and sorcery, aligning it with the King's Court. The young Witchfinder Matthew Hopkins is scouring the land, holding trials and burning at the stake anybody who he considers in league with the powers of darkness or are "freaks against nature, born of the Devil." Rumours are that there is an island of riches which will fund the escape of those using magic and anybody who stands by them. The island of ""Sirenswail."" It is to here that adventurers will set sail. Three adventures in one, city, sea, and island, ""Sirenswail"" contains mature content and is suggested for OSR games including Lamentations of the Flame Princess. It is intended for 5-8 characters of levels 1-3.

Sirens are sounds that confront us in daily life, from the sounds of police cars and fire engines to, less often, tornado warnings. Ideologies of sirens embody the protective, the seductive and the dangerous elements of siren sounds – from the US Cold War public training exercises in the 1950s and 1960s to the seductive power of the sirens entrenched in popular culture: from Wagner to Dizzee Rascal, from Kafka to Kurt Vonnegut, from Hans Christian Andersen to Walt Disney. This book argues, using a wide array of theorists from Adorno to Bloch and Kittler, that we should understand 'siren sounds' in terms of their myth and materiality, and that sirens represent a sonic confluence of power, gender and destructiveness embedded in core Western ideologies to the present day. Bull poses the question of whether we can rely on sirens, both in their mythic meanings and in their material meanings in contemporary culture.

This innovative and important book explores how war imprints on culture and the psychosocial effects of war on individuals and societies, based on the first few months after the outbreak of war in Ukraine in 2022. The book approaches the conflict in Ukraine through the prism of creative and artistic material alongside scholarly analysis to highlight the multiplicity of subjective experiences. Essays are complemented by material from the ‘war diaries’, which comprise day diaries, dream diaries, artistic and poetic material composed by students and academics in February and March 2022. With chapters focusing on fear, ruptures and resistance, the book examines different aspects of subjective, cultural and embodied experiences of war. It examines elements that dominant perspectives of war often overlook; the quotidian, personal and emotive ways that war is registered individually and collectively in societies and cultures. Highlighting different narratives that illuminate the complex effects of war, this book is highly relevant for postgraduate students, researchers and advanced undergraduate students in the fields of cultural psychology, psychosocial studies, peace and conflict studies and cultural history. Chapter 4, Chapter 5, Chapter 7 and Chapter 10 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license. To read the online archive of Two Months of War, please visit the Urban Media Archive of the Center for Urban History (Lviv, Ukraine): https://uma.lvivcenter.org/en/collections/178/interviews

So I agreed to play the part of Esther Rackham in a film about the heist that gave River Heights its name, and there was all this trouble on the set, and I figured out who was behind it. Case closed, right? Wrong! Once the camera starts rolling, a huge fire breaks out on the set, setting back production again. We're running out of time and funds. At least the fire turns up a key clue about who started it, but I'll have to continue juggling acting and sleuthing. Because it might be up to me to save this film from going up in flames....

Reporter Sydney Jordan tries to start a new life in Seattle with her teenage son, but is drawn into a serial killer's twisted game when he starts sending her macabre souvenirs from seemingly unrelated murders across the country.

Is a sound an object, an experience, an event, or a relation? What exactly does the emerging discipline of sound studies study? Sound Objects pursues these questions while exploring how history, culture, and mediation entwine with sound’s elusive objectivity. Examining the genealogy and evolution of the concept of the sound object, the commodification of sound, acousmatic listening, nonhuman sounds, and sound and memory, the contributors not only probe conceptual issues that lie in the forefront of contemporary sonic discussions but also underscore auditory experience as fundamental to sound as a critical enterprise. In so doing, they offer exciting considerations of sound within and beyond its role in meaning, communication, and information and an illuminatingly original theoretical overview of the field of sound studies itself. Contributors. Georgina Born, Michael Bull, Michel Chion, Rey Chow, John Dack, Veit Erlmann, Brian Kane, Jairo Moreno, John Mowitt, Pooja Rangan, Gavin Steingo, James A. Steintrager, Jonathan Sterne, David Toop