Author Archives: Tim Hall

Great blog post from Mike TalksEverything I know about Testing I learned from Doctor Who..

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If Karl Marx and Ayn Rand are the Gods of Economics (to whom we sacrifice George Osborne at dawn tomorrow), who else is in the pantheon? I get the feeling Marilyn Monroe and Elvis ought to be in there somewhere. Who should be in the 19th/20th century pantheon of gods and goddesses, and what portfolios should each of them have?

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Fate Core Psionics – Take Two

Take two of my Fate Core psionics draft, following feedback from various sources to the first draft I posted a couple of days ago.

I’ve reduced the skills to from ten to five by merging the three “mind” skills into one, ditto the three perception-type skills, and made matter manipulation into a stunt rather than a skill it’s own right. At the moment I’m not 100% sure about the Psychic Senses skill. It may need some of the “big” uses split out into stunts, but not sure which ones, and don’t want to leave the core skill too underpowered.

Psionics are extras; requiring a dedicated aspect defining the nature of a character’s powers, and one refresh for each skill.

The basic skills can be used for three of the four standard FATE actions, Overcome Obstacle, Create Advantage and Defence. An additional stunt is required to use any skill as an attack.

Telepathy

Covers sending projecting your own thought and emotions, along with sensing and influencing the thoughts of others.

Overcome obstacle
Communicate silently and privately with another willing (or at least not actively unwilling) person at a distance. Communication with another telepath is easier and faster, but two-way communication with non-telepaths can still take place with the non-telepath subvocalising replies.

Create Advantage
Read strong surface thoughts or determine emotional state of a target, or project emotions or plant suggestions in the target’s mind. Or even send distracting thoughts and images.

Defence
Read attacker’s surface thoughts so you know what they’re going to do and can counter their attack, or by mentally disrupting the attack itself.

Telepathy Stunts

Mental Blast
Use Telepathy for a direct mental attack, overloading their brain with static. Take them out and they’re knocked unconscious.

Mind Control
Use Telepathy for a direct mental attack, with the objective of taking control of their mind, If you take out your opponent in mental combat, they become a puppet under your control. You need to make another roll each time you try to force them to act against their nature, and they break free from your control if you fail the roll.

Mind Reading
Use Telepathy for a direct mental attack with the intention of reading their mind. If you take out your opponent in mental combat, you can search through their memories, rolling for each piece of information.

Psychic Senses

The ability to project senses into the past, present and future.

Overcome Obstacle
Passive “danger sense” that can give warning that something bad (like an ambush) is about to happen. Detect any actual use of psionics within range. Project your senses to see, hear or otherwise sense things a distance away.

Create Advantage
Create predictions as as Aspects on a target (or just “the future”) which can then be tagged. Persistant aspects stick around until either the foretold event comes to pass, or is prevented. Psychometry to determine one of an item or location’s Aspects.

Defence
Predict attacker’s moves in advance in time to counter them

Psychokinesis

The power of Mind Over Matter

Overcome obstacle

Anything that needs physical things to be lifted or moved. Difficulty based on a combination of weight, size and distance.

Create Advantage
Create obstacles, disarm, throw opponents off-balance, whatever…

Defence
Foil a physical attack

Psychokinesis Stunts

Psychokinetic Attack
An attack that causes physical damage to opponent, e.g psychokintically hurling rocks at them or throwing your opponent into the scenery.

Matter Manipulation
Destroy or alter unliving things by altering their chemical properties.

Lightsculpt

The power to manipulate light and create illusions

Overcome Obstacle
Conceal objects or people. Or for something completely different, use illusions for entertainment.

Create Advantage
Distract opponent with illusions

Defence
Distract opponent with illusions

Lightsculpt Stunts

Shock and Awe
Create an illusion sufficiently realistic and frightening that it causes mental shock, and counts as an attack.

Body Control

The power of Mind over Body

Overcome obstacle

Heal injuries to yourself and others.

Create Advantage
Push yourself past normal limits for feats of strength or endurance

Defence
You can soak up injuries

Body Control Stunts

Cause Injury
An attack cause physical hard to an opponent, essentially healing in reverse. Opponent must be in the same zone as you.

Advanced Stunts

These stunts require more than one skill as pre-requisites.

Energy Blast
Requires both Psychokinesis and Lightsculpt. Create a bolt of energy (fire, lightning, whatever) as a ranged attack.

Mindswitch
Requires Telepathy with the Mind Control stunt, and Body Control. You can swap minds with an opponent you’ve taken out in mental combat.

Shapechange
Requires both Lightsculpt and Body Control. You can change your appearance into that of another being. You don’t change size, and do not gain any special abilities of the new body shape unless you can simulate them with another power.

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Mostly Autumn hit the road for Spring 2013

Mostly Autumn at The Komedia in Bath, September 2012

It’s come round quickly. Mostly Autumn are back on the road again, with four gigs over the bank holiday weekend. They kick off on Thursday 2nd at The Komedia in Bath, followed by Friday 3rd at The Robin 2 in Bilston, Saturday 4th at The Citadel in St.Helens, and finally on Sunday 5th they play The Brook in Southampton.

The band return with further dates in June, and there are more to be announced. At the moment it’s not confirmed what the lineup of the band will be since a couple of those clash with Panic Room’s shows. But it’s my understanding that Anne-Marie Helder (above) will definitely be part of the band for the four shows in early May.

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The Raven That Refused To Sing

I wasn’t really surprised when Steve Wilson recently announced that Porcupine Tree would be going on indefinite hiatus. His two solo albums released since that band’s last album “The Incident” have taken a quite different direction, and it’s looking as though PT’s heavy metal Pink Floyd sound isn’t the sort of music SW wants to make at the moment.

“The Raven That Refused To Sing” features the supremely talented band put together to tour the previous solo album “Grace for Drowning”. It includes virtuoso bassist Nick Beggs, a man whose career progression from cheesy pop star to respected prog muso resembles that of Phil Collins in reverse, plus Theo Travis, Marco Minnemann, Guthrie Govan, and Adam Holzman, significantly credited not for “keyboards” but “Fender Rhodes, Hammond organ, piano and Minimoog”. Guthrie Govan plays most of the lead guitar, while Steve Wilson himself plays all the Mellotron which features heavily on every track.

As the follow-up to “Grace for Drowning”, it’s a similar mix of Canterbury-style jazz-rock workouts, grandiose Mellotron sweeps, pastoral sections with layered vocals, and passages of heavy sax-and-Mellotron, with the spirit of 70s King Crimson never far away. But the whole album is far more focussed and concise, a much tighter single album rather than a sprawling double.

The album opens with “Luminol”, with an opening section with jazz-inflected drumming and fluttering flute line recalls Ozric Tentacles before taking off in another direction entirely. The gorgeous “Drive Home” wouldn’t have sounded out of place on a mid-period Porcupine Tree album, and features a great solo from Guthrie Govan. There is some of the dark intensity of Grace For Drowning’s “Raider II” in both “Holy Drinker” and “The Watchmaker”, and early part of the latter also has a touch of Storm Corrosion’s spooky atmospherics. Concluding title track finishes off the album with a glorious soaring Mellotron-drenched ballad.

It’s probably fair to say that this is an album that wears its influences on its sleeve, and just doesn’t care. But it’s all done so well that it doesn’t really matter.

There was a feeling that the last Porcupine Tree album was the sound of Steve Wilson constrained by the expectations of how an album released under Porcupine Tree’s name ought to sound. In contrast, The Raven That Refused to Sing is the sound of Steve Wilson free to follow his muse, backed by a band skilled enough to bring that vision to life.

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Howard Sinclair joins Also Eden

Howard Sinclair at The Railway in Winchester

Also Eden annouce announce their new keyboard player, replacing Ian Hodson who left the band in April.

Finding a replacement for Ian was never going to be easy but that, in itself, gave rise to some radical thoughts about the future shape of the band, involving pedals, guitar synths and more. This forward-looking approach has resulted in the arrival on board of Howard “H” Sinclair.

Howard is well known as a solo artist, having supported Panic Room and others and being particularly prolific on the Bristol scene. He’s opened up for Also Eden before now, also appearing on the same bill as vocalist Rich Harding and guitarist Si Rogers, in their acoustic guise of Neo Deals, including at the Assorted Acoustic Afternoon in December 2010, when Rich was still in a wheelchair following his horrific motorcycle accident. Concidentally, a year earlier Howard had been playing keyboards in another band for whom Rich auditioned before joining Also Eden.

The new line-up’s first two gigs will be with F2 labelmates Manning, at The Robin 2, Bilston on Sunday, June 9th and The Met, Bury on Saturday, July 6th. Neo Deals are opening up for Red Jasper and Crimson Sky at The Fleece, Bristol on June 27th.

I didn’t see that one coming. It will be very interesting to see what Howard brings to Also Eden in the coming months and years.

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Luna Rossa – Sleeping Pills and Lullabies

Luna Rossa is an acoustic project from Anne-Marie Helder and Jon Edwards, best known as members and principle writers of the highly acclaimed Swansea-based rock band Panic Room.

The words “acoustic album” tends to suggest rootsy folk-orientated or heavily stripped-down recordings, but “Sleeping Pills and Lullabies” takes a rather different approach. For much of the album the dominant sounds are Jon Edwards’ expressive grand piano and Anne-Marie Helder’s remarkably versatile voice, supported by strings and sparing use of acoustic guitar. Occasionally you’ll also hear some spidery electric guitar, programmed rhythm tracks, some of Anne-Marie’s flute, and all sorts of other strange instruments.

After an initial drone, opener “The Dark Room” starts with a rolling piano figure accompanying the vocal and gradually adds layers to build into the closest thing the album has to a conventional rock song. The following “Heart on my Sleeve” is a spine-tingly beautiful atmospheric ballad with the string section prominent, and I love the moment towards the end where Anne-Marie uses her voice as a solo instrument with a wordless vocal line while the strings take up what had been the piano line. Then “Mad About You” is a complete change of pace, an uptempo love song based around acoustic guitar and percussion.

Aside from the delicate cover of The Magnetic Fields’ “Book of Love”, all songs are co-written by Anne-Marie and Jon, and quite a few of those songs wouldn’t have sounded out of place on a Panic Room record despite the absence of any crunchy guitars or a rock rhythm section. But I’m also reminded of Jon Lord’s post-Deep Purple classical work, especially on the instrumental “Leaving for the Last Time” with some evocative flute from Anne-Marie. The laid-back improvised feel of “Cloud” recalls the mood of Kate Bush’s “50 Words for Snow”. There are moments recalling Massive Attack at their most song-orientated, especially on the powerful closer “Gasp”, with it’s dramatic piano chords and multi-tracked backing vocal that some might recognise as the intro tape used in Panic Room’s most recent tour.

It’s an extremely varied record; rich and layered in places, sparse and minimalist in others, experimental in some ways yet anchored in melodies that get stuck in your head after just a few listens. This a work that’s pointless even to try and pigeonhole, It’s not really a rock album as such, certainly not prog-rock in the traditional sense, yet with its elements of classical music and touches of electronica it’s progressive in the original meaning of the word. The quality of the songwriting combined with Anne-Marie’s ever amazing voice should appeal strongly to Panic Room’s existing fans, but I can also see this record also having a far wider crossover appeal.

For more information, including how to pre-order the album, visit the Luna Rossa website at www.lunarossa.co

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Good blog post by Trish Koo on how it’s not just sexist men who put obstacles in the way of women in technology.

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From the music blogosphere – Sid Smith laments the days when non-mainstream musicians could make music as a full-time career. And Matt Stevens confronts a heckler shouting “It’s going round and round, it’s a fake, I’m not stupid”.

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The Return of the Facebook Privacy Monster

I see the Facebook Privacy Monster is rearing its ugly head again with another subtle unannounced change. People need to understand that Facebook does not care about our privacy. All they care about is selling our data to advertisers. And they notoriously employ no testers, so whatever privacy options they do try to implement are always going to be riddled with holes.

The problem with Facebook is the way it aggregates all your postings and comments across posts, pages and groups, and you have no control over any comments left outside your own page. If you post to public groups or leave comments against public posts, Facebook will show them to all and sundry. If you’re concerned about privacy at all, you should not be posting things you wouldn’t want you mum, your boss or your ex to see anywhere on Facebook. Keep that sort of stuff for closed mailing lists, private forums, or places that allow anonymous pseudonyms.

I wonder if we should all go back to forums and blogs, where your postings on different sites weren’t connected and aggregated together in the same way, and none of them ever forced you to use your real names anyway.

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