Author Archives: Tim Hall

Conflicts!

I’m doing evil experiments on the players of my PBeM and PBmB games.

Up to now I’ve largely be using the technique known as ‘Illusionism’, which is Forgeite moon-language for arbitrary GM fiat deciding the results, especially with social conflicts with NPCs. I’ve slowly become dissatisfied with this approach, wanting something a bit more structured mechanically. In particular, I’ve been getting bogged down trying to solve social conflicts by ‘just roleplaying it out’, and want some actual system support.

I’ve decided to use a form of Conflict Resolution. This takes an different approach from the traditional RPG of rolling success or failure against skills for a task. Instead, you determine what the PCs and opposing NPCs want to achieve, then roll for that. The winner of the contest gets what they want, within limits. Determining those limits is what setting stakes is all about.

For simple conflicts a single oppose dice roll will settle things. But for dramatic extended conflicts I’m using the Fudge Wound Track to record progress. When one party in the conflict reaches Incapacitated it means the conflict is over and they’ve lost. If it tips over into Near Death, then there’s going to be some longer-term fallout.

So far I’ve got the following three scenes running that I’m treating as extended conflicts:

  • An actual combat scene, with Legionnaire Kanon and his men taking on an angry mob, supported by the former Legionnaire Rotemdol. The immediate objective (and thus one side of the stakes of the conflict) is to arrest two individuals who have been identified as the ringleaders of the mob. The result of the conflict going badly will be the miscreants getting away, with the possibility of Kanon getting wounded in the resulting battle
  • An example of social conflict, starring another Legionnaire, Kolath, trying to persuade the security chief of the Academy of Knowledge to explain exactly why his men have been firing artillery weapons within city limits. The precise stakes are not available at your level of clearance, because that will be a spoiler. (This isn’t a ‘full disclosure metagame’ where the players have GM-omnisicent knowledge of the situation)
  • Finally, a more abstract conflict where Zul is trying to lead a prison breakout, with the jail itself as the opponent. If Zul wins, she’ll escape. The precise stakes if she loses will be determined as the conflict develops.

We’ll have to see how this plays out. One thing I’ve found already; trying out a conflict resolution system has certainly renewed my enthusiasm for a game which had been flagging a bit.

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Dapol and their livery choices

George Smith of Dapol is complaining about poor sales of their Dogfish ballast hopper. I think this is a lovely model, which is marred by Dapol’s bizarre decisions on liveries, which in turn has depressed sales. The first release was in a dubious all-over grey which I think is supposed to represent faded olive green, but it’s with TOPS data panels which makes it inappropriate for 50s/60s era modellers. They’ve not done it in actual olive green, or in the later ‘Dutch’ grey/yellow colours. They’re claiming that the ‘body is wrong’ for the latter livery because it had an ‘extra panel’. I’m highly sceptical of this; all photographs of dutch liveried Dogfish look exactly like the Dapol wagon to me, and the wagon experts on the ModMod list all insist that there was only ever one body design, and none were rebodied when repainted into Dutch. Have Dapol done some dubious research?

He’s also moaning yet again that modern modellers have ‘deep pockets and short arms’, and is (again) threatening to stop making modern models unless ‘we’ buy them. He’s citing the poor sales of the BR blue class 73 as an example. Personally I think one problem is that Dapol are releasing too many models in too short a period, and are forgetting people only have finite spare cash at any one time. Something like a blue 73 in a long-lived but historical livery is likely to be the sort of thing that sells slowly and steadily over a long period. It’s not a good fit for the limited edition ‘feeding frenzy’ approach which is more suited to short-lived contemporary liveries. BR blue really should have been one of the first liveries, not the last.

I want Dapol to succeed, and I want to encourage them to continue producing diesel and electric era models. But I also want them to learn from mistakes, and don’t want to be bullied into paying good money for flawed models, or things I don’t actually want.

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Trains in the Cowshed

I’m recovering today from the N gauge show in the Leamington ‘Cowshed’. Many excellent layouts; one of my favourites was the narrow gauge French one, using Z gauge track. Most of the best diesel era layouts I’ve seen before; the ever excellent Kings Park with it’s eight running lines where there’s always something moving, or the compact but atmospheric Shaweport set in 1990s potteries area. Morpeth is new to me, a big layout set in pre-electrification East Coast main line when the Deltics pulled the top expresses.

As well as being an show of layouts, it’s a major opportunity for the trade to show their wares; Bachmann and Dapol had big display stands, and most of the smaller cottage industry people were there too. I finally got to look at the finished version of Dave Jones’ class 121 bubble car (not terribly impressed, I’m afraid)

Over at the Bachmann stand the Metro-Cammell Pullman cars look magnificent, especially the blue/grey ones I remember seeing at Kings Cross in the 1970s. It’s really, really hard to justify them on a 70s/80s/90s/00s layout set in Cornwall. Early test shots of the TTA look good; the Peco model was good for it’s day, but is now rather long in the tooth.

Rather outside my era are the Dapol Gresley coaches, although they certainly look impressive. They’re the first British outline coaches that really come up to the standards of continental models by Fleischmann, Minitrix and Roco. They’ll also be selling at Fleischmann-level prices, so we’ll have to see if the allegedly price-sensitive British market is prepared to pay for quality.

Dapol actually had three new steam/early diesel era wagons on sale, a 21t hopper, a 12′wb 21t mineral, and the grain wagon. They look nice, especially the grain hopper. Not sure if I can justify any of these in Cornwall.

The preproduction sample of the Cargowaggon looks an impressive beast, although they’ve allegedly missed an umlaut from the tri-lingual lettering. I’m still not convinced that the shade of blue is quite correct, and might well need a bit of weathering to darken it.

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Circulus – Clocks are Like People

“In a castle far away
A band beins to play
The medieval disco lights are shining”

Circulus are one of those bands who are almost impossible to categorise. Their music includes both ancient moogs, and really ancient instruments like crumhorns and rausch pfiffers. With their charity shop medieval garb they can’t avoid comparisons with Blackmores Night, but unlike BN, Americanised renfaire cheese is thankfully absent from their sound. Circulus certainly don’t do cheap pop records. What we get is instead is flute-driven psychedelic folk-prog, with some loopily surreal lyrics in places, featuring dragons, south London skip hire companies, and Trumpton. Songs like ‘To The Fields’ recall early Mostly Autumn at their most pastoral, and I hear faint echoes of Caravan in some of the moog wig-outs, but overall they’ve got a very distinctive musical identify of their own.

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EMUs

Electric Nose thinks EMUs.

Talking of multiple units, I travelled from London Waterloo to Woking the other day, and was reminded just how intense suburban operations can be. With other trains frequently passing mine on both sides, this fascinating experience is about as far removed from the typical model railway stereotype as it’s possible to get. Exactly why I use a computer and DCC to provide a more realistic traffic density around whatever train I happen to be running.

Clapham junction in the rush hour is something that has to be seen to be believed; twelve running lines with trains at something like three minute headways on each one. That works out at one train every 15 seconds, with up to five or six moving trains visible at any moment.

I don’t think I’ve ever seen that sort of really intensive suburban EMU operations modelled. This probably isn’t helped by the fact that EMUs have always been the poor relation to everything else when it comes to ready-to-run models. Yes, there are kits, but not everyone has the time or skill to build them all. The complex modern liveries aren’t always easy for the average modeller to paint convincingly, especially when you’re talking not about one or two units, but an extensive fleet.

Something like the approaches to Waterloo would take up an inordinate amount of space in 00, but might be feasible in N if only the stock was available.

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Meaningless Genre Labels?

Temple Stark thinks musical genre labels make no sense.

People get quite, quite stupid about trying to define genres of music. Certainly there are time references and bracketing of music, but gritty, heavy, middle of the road, prog-rock, emo, alternative (the ultimate useless label)?

Ah yes, “Alternative”. Alternative has now completely lost it’s original meaning, because it’s represents a style that’s now become the mainstream, while the music it was originally supposed to be an alternative to is now called “classic rock”. The British “Indie” is equally stupid when it’s used to refer to present-day corporate rock acts like Coldplay and Franz Ferdinand.

I’d admit there is a difference between “heavy metal” and “hard rock”, but I can’t think of any specific genre markers that separate one from the other. It’s just something you know when you hear it. Black Sabbath are heavy metal. Thin Lizzy are hard rock. And I’m not even going to try and explain why. What ends up endless causing arguments between musical anoraks is that most genre boundaries are fuzzy, and many truly great bands are too varied to sit neatly into any single genre, let alone a sub-genre. When you get into ‘Progressive Doom” or “Zinc Alloy Metal” (OK, so I made that last one up!), I’m lost. I think most bands that fit too neatly into a specific sub-genre are likely to be rather unoriginal and derivative. It’s not just metal that subdivides into narrow genres; dance music is even worse.

My biggest pet hate is the way some people claim to love “progressive rock” and hate “prog rock”, and then go on to define those two genres on some totally arbitrary basis purely in order to fit whatever bands they do or don’t like in the right one.

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One Woes

One Railway know how to make a drama out of crisis.

Police were called in at Liverpool Street to keep order, because rail staff found it difficult to deal with the situation, he added.

Mr Attoe said: “The staff had no clue what was going on.

“We were arriving at stations and passengers who had been delayed for the best part of five to six hours were literally screaming at the one member of staff that they could find demanding taxis.

“The staff were saying ‘no’ they were ignorant and arrogant. One member of staff swore at me. They just didn’t want to know and they really didn’t care.”

All caused by overhead line failure, courtesy of Notwork Rail. Not our fault, guv. Typical ongoing result of John Major’s stupid fragmentation of the railways. Train companies shaving staff and capacity to the bare minimum to operate the normal timetable, with no contingency to cope with problems. And then when something does go wrong, it’s always somebody else’s fault when it all goes into meltdown.

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Mew – And the Glass Handed Kites/Riverside – Second Life Syndrome

Mew: And the Glass Handed Kites

Mew have been tipped as one of the ‘new progressive’ bands who take influences from 70s progressive rock and make them relevant to the 21st century. Unfortunately the only ‘prog’ thing about this record are the wierd song titles and incomprehensible lyrics. Musically the progressive influences are so diluted they might as well not be there. What we do get is a whole load of generic indie-style jangling guitar (I hate that style of guitar playing) leavened by very occasional prog-style keyboard flourishes. A couple of beautiful soaring vocal lines rise above the jangly morass, but it’s not enough to save the album. For my tastes at any rate, this one’s something of a dud. Serves me right for trusting the judgement of the rock critics of The Guardian. I’m half convinced that they just read the lyrics booklets and never bother to listen to the actual records.

Riverside: Second Life Syndrome

Poland’s Riverside most likely aren’t even on radar screen of the indie-obsessed Guardian scribblers, but unlike Mew, they’re the real thing. I’m writing this on a wet and miserable morning in Manchester, and the music seems to be a perfect fit to the weather. Some of the cold and bleak soundscapes evoke what I imagine Poland must be like in the depths of winter. The guitar-driven music is reminiscent of some recent Porcupine Tree, although they’ve enough of their own identity to avoid becoming a simple pastiche. I can also hear echoes of a stripped-down Dream Theater in places. Piotr Grunzinski’s masterful guitar playing defines their sound, all angular riffs and fluid soloing; no indie-style jangling to be heard. It’s a perfect match for Maruisz Duda’s somewhat angst-ridden lyrics. We could probably have done without the rather clichéd ‘Shine on You Crazy Diamond’ intro to the 15 minute title track, but that’s a minor quibble, it’s only a minute and a half of their whole album.

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Lordi – The Arockalypse

People who accuse Finland’s national heroes Lordi of ripping off Gwar miss one important difference. With Lordi, underneath all that latex and and B-Movie horror imagery there’s a great rock and roll band who are capable of coming up with a whole album of decent songs. I’ve previously described their winning Eurovision entry ‘Hard Rock Hallelujah” as a cross between Rammstein and The Darkness, and the album is much in the same vein. It’s pure pop-metal, huge guitar riffs and massive singalong choruses. Bottom line, if you liked the Eurovision entry, you’ll like this album. Whether they’ll have as long and successful career as ABBA, or whether they’ll be the metal equivalent of Bucks Fizz remains to be seen.

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Snakes on a Train!

One snake, anyway. As reported by BBC News

A Swiss train has been taken out of service after a pet snake escaped from its owner and hid in a carriage, a local train company has said.

Experts have so far failed to catch the reptile, which vanished on Saturday, said Eric Luthy, a spokesman for the Neuchatel Regional Transport company.

I’ve seen a surprisingly large number of guinea pigs on Swiss trains, but never a snake.

(Link from Rob)

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