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The K70 RGB RAPIDFIRE has CHERRY® MX Speed RGB switches backed by a lightweight aluminum chassis. CUE enabled advanced lighting control and large font keycaps deliver dynamic, vibrant multi-color backlighting. Compatible with CORSAIR iCUE
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As promised, ESPN made its list of approved endorsement deals for employees public on its website. Of the 54 names, X game analyst and former athlete Chris Burandt led the way with 20 endorsement deals.
ESPN changed its policy on employee endorsements after Erin Andrews' controversial deal with Reebok. Erin Andrews will keep her endorsement with Reebok until Jan 1, 2012, but will have to terminate her relationship with the shoe company following that date.
"We are more committed than ever to our mission of serving sports fans and we feel the steps we are taking today will help us better meet that goal," ESPN Executive Vice President Norby Williamson said.

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Topic: [Legends of Lanasia] Conflict Flow (Read 8520 times)
Posts: 1049
Don't Panic!
[Legends of Lanasia] Conflict Flow
December 14, 2010, 08:41:03 AM »
Here is what I have so far:
Conflict Flow
1) Agree that there is a conflict
2) Players declare their Stakes (what are they fighting for?)
3) Judge declares the Stakes for NPCs
4) Judge declares Scope (if they win, how long will the Stakes last?)
5) Judge sets Target Numbers for all Characters
6) Judge selects Action Types
7) Player(s) select Action Type(s)
8) Players narrate the action so far
9) Roll the dice
10) Assign one die to Drive and one to Caution
11) based on the Action Type selected, add the appropriate Aspects to Drive and Caution
12) If you have any applicable Special Abilities, Talents or other Mofifiers (such as spending Luck), add those now.
13) Compare your Drive + Aspect + Modifiers to the other Character's Caution + Aspect + Modifiers. If your total is higher, score progress equal to the differennce.
14) Compare your Caution + Aspect + Modifiers to the other Character's Drive + Aspect + Modifiers. If your total is higher, the other character scores no progress. Otherwise, they score progress equal to the differennce.
15) All characters total their progress across all rounds of this Conflict, if that total is higher than their Target Number, they win their Stakes.
16) If no one has won their Stakes, any character can surrender abandoning their Stakes. If only one character remains, they get their Stakes. Otherwise, continue from step 6.
17) if more than one character wins their Stakes, see if it is possible for both players to achieve their goals. Otherwise, use this tie-breaking rule:
a) The player with the highest overall Progress wins
b) in the case of a tie, the player with the highest Target Number Wins.
c) If still tied, the tied player with the Highest Talent Wins
d) If still tied, the tied player character wins over the Judge�s character.
e) If still tied, the Judge decides among the tied Player Characters
18) Assess Harm
a) Opponent�s Progress is higher than your lowest Aspect - Minus 1 to either Drive or Caution (Loser chooses) for the duration of your next conflict,
b) Opponent�s Progress is higher than your lowest Aspect - Minus 1 to both Drive and Caution for the duration of your next conflict,
c) Players that lost their Stakes can choose between learning a new skill, refreshing their Luck (and getting a new luck point if they are out of luck), gaining a new Destiny Point and gaining a new Friend.
19) Narrate the Action so far (including the manner in which the Stakes are won and lost).
What do you think? Are there any weaknesses int he mechanics I am not seeing? Is there a flaw in my logic? Does this answer all the questions that need to be answered in order to resolve a conflict?
Dave M
Author of Legends of Lanasia RPG (Still in beta)
My blog
Free Demo
Ron Edwards
Global Moderator
Posts: 17707
Re: [Legends of Lanasia] Conflict Flow
Reply #1 on:
December 14, 2010, 09:48:21 AM »
Hi Dave,
Your presentation suffers from a bad case of Story Game Disease. That's my term, hotly resented by some, for designs which storyboard play rather than playing, resulting in extensive discussion at the table about what the conflict is about, as well as fully pre-narrating the possible outcomes for it.
In my experience and observation, this process is so aggravating, boring, and exhausting that it is even worse than the decades-old squabbling about whose character is where and who's in whose way in an ambush-combat situation while playing AD&D2. Yes: worse than that. It characterizes way, way too many recent game designs proudly designated "Story Games" by many people who've come to the independent design scene after 2005 or so, as well as by some who were in it earlier and should know better.*
Consider these minor visual revisions, which I think yield profound differences in play.
1. Instead of "Start," begin with "narrate actions and dialogue," with arrows pointing into itself. In other words, this is a cyclical loop of a single box, which is ongoing play. In many ways, your whole conflict-resolution scheme needs to occur
it. My impression is that you already know this because your final step is another Start.
2. Replace "Player set Stakes" with "Recognize crisis of intent," meaning that someone has
narrated characters in imminent action, which carries risk, invites obvious opposition, or both.
3. Put another "Narrate action so far" with each Action Type statement, or perhaps one just before those statements.
Looking it over with these revisions, I'm hoping that you see that play
doesn't stop
during the process. As I see your posted scheme, and as I've explicitly observed when participating in playing similar designs, play
stop between the two "Starts." And it may seem seductively clear and fun the first time, but it turns aggravating, boring, and exhausting very quickly.
As another point, consider deeply whether the Judge needs to set Stakes at all. In some designs (HeroQuest), he does, at least in terms of what an NPC may be striving toward; in others (Trollbabe), he does not. Both work, but they work profoundly differently. Make sure you really want the one that you choose to use in your design.
Also, if by "Stakes," you mean "narrate exactly what happens if I win," then I suggest revising that definition for everyone.
Best, Ron
* And to rant further, Primetime Adventures as written does not suffer from this disease, nor does Polaris, nor does Dogs in the Vineyard. People frequently mis-read and mis-play these games based on contracting the disease on the internet.
Posts: 1049
Don't Panic!
Re: [Legends of Lanasia] Conflict Flow
Reply #2 on:
December 14, 2010, 12:22:02 PM »
Thanks for taking the time to check this out.
OK, so the gag is, I used a lot of short hand on the graphic.
The text that follows is close to how the rules will be written.
So, I have played a lot of Shadow of Yesterday and ditv and I have sort of made my own procedure for setting stakes. I have noticed that with certain players (the internet infected ones) stakes setting involved pre-playing the scene. So, what I do as an attempt to bypass this is to ask the question, "What are you fighting for?" (or why are you arguing, etc). I find that this is a decent verbiage to illicit proper stakes, but not pin the scene down to some sort of binary outcome.
Yeah, if the box should be bigger, I would replace "Start" with "Players agree that there is a conflict" because I have seen players who enjoy particular conflict mechanics pick up the dice even when both parties really want the same outcome. This step is intended to make sure we aren't rolling for nothing (and the chicks for free).
Oh, and the start at the end is a copy and paste flub. It is supposed to say "End" the idea being that the characters aren't trapped in a perpetual conflict loop. but that conflicts happen and when they do, follow this procedure.
I think that "Recognize crisis of intent" would be good verbiage for the "Start" box. Until that happens, there is no conflict.
As to Set Stakes, maybe I will put, why is there a conflict? So that the answer will be more interesting than "I kill that guy" unless killing him is the most interesting option.
As to Narrate the action so far, you are exactly right. In my mind it was there (I had to actually scroll down and make sure it wasn't already).
Yeah, I think the Judge setting the opposing Stakes is important. It is the one chance for them to really explain what is in it for the Antagonist. I find that the having the losing Stakes be "nothing happens" or "the opposite of what you wanted to happen happens" gets boring pretty quick and it strips the Antagonists of any real story or flavor eventually.
So, yeah to sum up, "Stakes"="Why are we doing this?" Not "What do I get if I win."
Again, thanks for checking this out and let me know if my answers are at all illuminating.
Dave M
Author of Legends of Lanasia RPG (Still in beta)
My blog
Free Demo
Ron Edwards
Global Moderator
Posts: 17707
Re: [Legends of Lanasia] Conflict Flow
Reply #3 on:
December 14, 2010, 01:35:36 PM »
Hi Dave,
Your answer is a bit of a relief for me. What follows is a matter of refinement rather than revision.
My take on the right phrasing, at least in Trollbabe, The Shadow of Yesterday, Dogs, Dust Devils, and a number of related games, is, "What is he or she driving at?" In other words, staying fully within the fictional intention - or better,
intention - of the character.
Saying "why is there a conflict," as I see it, is not too useful, as it prompts abstract discussions and a lot of focus on how the story "should" go. Instead, given "what is he or she driving at," the next question rather intuitively becomes, "and why is that a problem?"
Best, Ron
Callan S.
Posts: 4268
Re: [Legends of Lanasia] Conflict Flow
Reply #4 on:
December 14, 2010, 03:22:50 PM »
Hey Dave,
I wonder about 'Agree there is a conflict'. I mean, the way that presents it, what if one person thinks there is a conflict, and another doesn't? They both continue on, thinking each other wrong? It kind of smacks of an insistant sim base to me, one that insists something about the spoken fiction/sound waves through the air exists. Rather than asking, after looking back at what we'd written so far, roughly what sort of fiction we would like to write next (well, speak aloud rather than write, but you get me)?
Then again I don't know if that's some kind of deal breaker to remove that, "it's there" reference. I mean, Ron is using "in imminent action, which carries risk, invites obvious opposition" and recognise crisis of intent, rather than simply talking about the imaginative reaction one has to the prior spoken fiction and pitching that reaction as something to further write/narrate about. Is there some sort of impetus in refering to it as existant that is necessary for the creative process here? It's just that to me were dealing not with existant things, but peoples psychological reactions to prior spoken fiction (note how I avoid using the term 'SIS' here) - and inevitably those reactions will be starkly different at some point (as much as we are not hive mind). The 'existant' phrasing in 'Agree there is a conflict' seems a risk with no benefit, by my current measure? Or is there a benefit I'm not seeing?
Note: I'm second guessing a 'your reading it wrong' responce. As I measure it, if the listener/reader reads it wrong, then both communicator and reader have failed, not just the reader. Which in essence is the problem I'm talking about here. I get that refering to something as existant which isn't can be a creative inspiration, but it has risks involved as well. Babel being one.
Philosopher Gamer
My WIP browser game: Driftwurld
Posts: 1049
Don't Panic!
Re: [Legends of Lanasia] Conflict Flow
Reply #5 on:
December 14, 2010, 08:44:14 PM »
I have always welcomed your input. You are great at getting me to better gel my ideas.
What if one person thinks there is a conflict, and another doesn't?
Well, the person who thinks there is a conflict wins their imaginary conflict. I mean, this issue points to a bigger problem in play when it happens. But the point is, there is no conflict mechanic that will work and help evoke any sort of shared fiction if both sides want the same results.
I think I understand you, but I have seen on more than one occasion where a conflict is well under way before both sides realize they want the same thing. I think for groups that are gelling, this is a "gimme." We don't have to dwell on this step. But, if this is a little wobbly, there is a reminder, right there in the book, to ask this question.
Is there some sort of impetus in refering to it as existant that is necessary for the creative process here? Or is there a benefit I'm not seeing?
No, this one step is not about the creative process. This is more about efficiency. In other words, let's make sure we still have a similar understanding and then we can bust out the cool/fun conflict mechanics if it still makes sense.
Note: I'm second guessing a 'your reading it wrong' responce.
Ah, OK. Well, my awesome response wasn't really about me saying "you are reading it wrong," it was more about me saying "In my haste to abbreviate it for web consumption, I wrote it wrong."
Sorry about the confusion. In the final version, this will include a lot more words, and I may or may not include the diagram. I am still trying to decide (I will probably fix it and include it in the back as an appendix if I do keep it).
Thanks for checking this thread out, I really do appreciate it.
Dave M
Author of Legends of Lanasia RPG (Still in beta)
My blog
Free Demo
Callan S.
Posts: 4268
Re: [Legends of Lanasia] Conflict Flow
Reply #6 on:
December 15, 2010, 09:02:17 PM »
*confused* I didn't mention both sides wanting the same result? One person at the table thinks theres a conflict, another doesn't.
You can have rules which designate a person and say if that person thinks there's a conflict, there is, regardless if no one else sees it (or you could have rules that say someone can do this, but have to spend an X token each time and they only have so many, which ends up more interesting, IMO).
Or you could have it that one guy can say he sees a conflict, but if another guy says he doesn't, that's it, it isn't there.
There are probably a few dozen ways of working on this. I just don't know which 'Agree that there is a conflict' refers to? It's a bit like writing a rule that says "If the real life food tastes bad, do X"...it begs the question, what happens if one guy at the table tastes it and says yuck, but another guy says yum? What is the procedure if one guy 'tastes' the prior spoken fiction and tastes a conflict, while the other guy doesn't? From some of my past history, what happens is some bitching, as each side, encouraged by the text itself to think their reaction is a global truth,
think that their 'there is a conflict'/'there isn't a conflict' reaction is the global truth and the other guys being bloody minded/stupid/malicious, etc. Certain wording can really stoke that 'how I see things is how things
' mindset. Indeed I think alot of authors stoke this mindset in their writing, because as they write they themselves are under the mindset that how they react to something is how things are. They think their perception of 'the SIS' is a real thing, not simply their own particular psychological reaction to prior spoken words.
Sorry to go on, but if such a mindset is present, then there will appear to be no problem. It'll instead feel to like "If there's a conflict, then there is, it's obvious - so I do not need to write any other rules and what is this guy going on about?". Which is to be deeply mired in the above mindset.
Assuming were past that problem, how is this handled? I gave two sketchy examples above - and there could be many more ways of doing it that could be invented. Each is based on there being a point in the procedure that says to someone 'Hey, if you choose, you can start a conflict now'. It's just a matter of which one do you want to use? I think that's the next step to take.
Philosopher Gamer
My WIP browser game: Driftwurld
Ron Edwards
Global Moderator
Posts: 17707
Re: [Legends of Lanasia] Conflict Flow
Reply #7 on:
December 15, 2010, 09:17:39 PM »
You're absolutely right, Callan. As far as I know, Trollbabe is the first game written to be absolutely explicit in its rules about this issue. One might interpret the bulk of rules-sets before that to include a tacit rule that the designated GM (by whatever title) plays that role, corresponding to your first stated option, but I have found that to be troublesome in practice. In practice, lacking such a rule, groups either find their own way through this, inventing their own techniques that are not only unstated but unacknowledged as even necessary in most rules-sets, or they don't, undergoing tedious debate or other forms of funky non-play to muddle through the Murk.
So all this is to agree in asking, Dave - for this game, what do you have in mind? It may be that your answer allows for certain editing of features in your flow chart ... for instance, in Trollbabe, since either player or GM can flatly state "conflict," and that person determines the Action Type, there is no back-and-forth Action Type choosing between the "sides."
Best, Ron
Posts: 1049
Don't Panic!
Re: [Legends of Lanasia] Conflict Flow
Reply #8 on:
December 15, 2010, 09:24:59 PM »
I think I get what you are saying. And I am not claiming it is a transparent issue.
But, what my answer was supposed to mean is this:
1) A player says, my character is walking down the street.
2) The GM says, "Their is a street thug barring your way, he says, 'You want to get past me, you gotta pay...' What do you do?"
3) So, looking at my cool, little, conflict diagram, the player has a choice, "yes there is a conflict." For whatever reason he is willing to fight to get past this thug. Or, the player can say, "You know what, you are right," and his character does a 180. No conflict. Of course the GM can still press the issue and force a conflict, but at this point, there probably is no conflict. The NPC wants to prevent anyone from passing and no one wants to get past them.
But, we can't know that until we know the minds of both the GM and the player. The GM or the player can propose a conflict, but if there is no character that will resist them, there is no conflict, right? It depends on the fiction, is there a story element that is there to resist them? This may be obvious, or this may be on an edge case. The point of this step is simply to encourage players to communicate with each other, their understanding of the current, active story elements.
Does that make sense? I know I have been very brief, so I am not sure if that brevity is negatively impacting comprehension.
Dave M
Author of Legends of Lanasia RPG (Still in beta)
My blog
Free Demo
Callan S.
Posts: 4268
Re: [Legends of Lanasia] Conflict Flow
Reply #9 on:
December 16, 2010, 04:41:33 PM »
Hey Dave,
Man, this looks innoculous, but there are massive rip tides under the surface in what your describing. I'm not even sure I can chart them.
The best way I can describe it, Dave, is to say that your deeply mired, as I described before. You, as you say yourself, say this depends on the fiction, or fictional characters, or somehow how it depends on how 'we' know the minds of the GM or player (not as they know their own choices and just like, decide).
Let me put it this way - lets say whether there is a conflict depends on whether there are fairies living at the bottom of the garden of the house the games being hosted at.
Does this sound an absurd way to try and play a game? As in fairies are made up - you can look at a die and say whats on the top face, emperically. But faries are made up, you can't wander down into the garden and detect if any are present or not. What the fuck happens to the game as your all wandering in the garden?
I'm pretty sure you'd agree with me on all those assertions, probably even saying it's obvious.
The thing is, your trying to do the same thing here. Your trying to determine if a certain fiction 'exists' or not, to determine what to do next in the rules. Like if a rule says 'on a roll of a one, bring in a wandering monster' your trying to have a rule that says 'if a conflict exists, then do X...'. This is exactly the same as saying 'if fairies exist at the bottom of your garden, then do X...'. No, they are exactly the same as each other!
Anyway, that's the dreadful pill I offer. I'd talk about other options, but I think it best to wait to see how it sits, if at all, first.
Hi Ron,
One might interpret the bulk of rules-sets before that to include a tacit rule that the designated GM (by whatever title) plays that role, corresponding to your first stated option, but I have found that to be troublesome in practice.
Oh, my first option is incredibly blunt, I totally grant. In terms of A: clearly defining who decides what mechanical option is take, it's great, but in terms of B: Providing a shared author environment, it basically sucks (Read: It fails that shared author goal. Usually leads to lurking dictator behaviour/'good GM'ing'). You can see I try and water it down in the brackets idea, to start allowing room for other voices at the table. Anyway, atleast it gets A out of the way.
inventing their own techniques that are not only unstated but unacknowledged as even necessary in most rules-sets, or they don't, undergoing tedious debate or other forms of funky non-play to muddle through the Murk.
Even the unstated techniques make me think not of human communication and interaction, but of something like water washing against stone - either eroding or being brushed aside. The unstated and unacknowledged ones are the ones people are most insistant about / the make the biggest waves about...
Philosopher Gamer
My WIP browser game: Driftwurld
Posts: 1049
Don't Panic!
Re: [Legends of Lanasia] Conflict Flow
Reply #10 on:
December 17, 2010, 07:34:10 AM »
I really don't know what you are talking about. I feel like there is a misunderstanding between us, so let's see if I can help clarify.
I do know that I have used this rule in actual play and that typically, it serves two positive purposes:
1) Checks understanding of the SIS (as I understand SIS)
2) Allows players to say, "Hey, wait, let's do a little more of this before we use the Conflict rules."
I fully recognize that this is partially a feature of the way I play (I like to bust out the conflict mechanics of games I get excited about), but I don't think it would hurt to expose other players to this simple technique (just ask, "Is there a conflict?").
Maybe it will help to clarify that in the context of the game I am designing, a Conflict occurs when Character A wants to accomplish X in this scene and Character B wants to accomplish Y in this scene and because of some sort of shared logic, they both can't occur (e.g., where X = Character B is dead and Y= Character B is alive. This is an extreme example, but I am trying to be as clear as I can be).
Therefore, if X and Y are compatible (e.g., X= There are no witnesses to what is going on in the area behind character A and Y= Going away from the area behind character A), then there is no conflict.
But, not until the players tell us what X and Y equals, we don't know. So, why not ask them?
Maybe you are trying to highlight some other issue, but I am not sure.
Dave M
Author of Legends of Lanasia RPG (Still in beta)
My blog
Free Demo
Callan S.
Posts: 4268
Re: [Legends of Lanasia] Conflict Flow
Reply #11 on:
December 17, 2010, 03:21:41 PM »
Dave, part of what I'm saying is that you have never, ever done #1 in your whole life. You can't understand something that doesn't exist. What's happening is that your having a psychological reaction to prior sound waves. That's all. That's not an understanding, that's just psychological reaction. But your attributing your psychological reaction as an existant thing.
This is a mechanism I see as physically working: Having a mechanism where the GM and the player have a real life button each, they may choose to press their button and if either real life button is pressed, then we hit the conflict rules (and you don't need a button, it could be a verbal indicator 'I want to go to conflict on this' - it just has to be a real life indicator).
I mean you practically seem to say that with
But, not until the players tell us what X and Y equals, we don't know. So, why not ask them?
But you don't need to ask them - just provide them with a RL physical button each, or some physical mechanism with some sort of system to it. If there's a conflict, that button will have been pressed. Heck, if you need everyone/'we' to see the conflict, everyone can have a physical button and only if everyone presses it, do you go to the conflict rules. There are many ways of doing this EXCEPT measuring/understanding something which doesn't exist to be measured/understood.
Anyway, that's what I'll wrap up on - your trying to have a rule based on measuring/understanding something that does not exist to be understood. You might say you've played that way for years and it worked, but it'll have been other processes that occured. Even if the process came down to people just saying they see a conflict just so they can get on with the show.
Philosopher Gamer
My WIP browser game: Driftwurld
Posts: 1049
Don't Panic!
Re: [Legends of Lanasia] Conflict Flow
Reply #12 on:
December 17, 2010, 03:50:47 PM »
Can you take a step back and tell me, exactly, what you are talking about?
I am not trying to antagonize you or troll you, I really want to understand it.
I really don't understand the distinction you are trying to make. Like how is it hitting a button better than answering a question? My guess is that that was meant as an example, but I am not that good at inferring info, so if you could just explain, plainly, what you mean, I would listen intently and try and understand something cool.
I mean, yeah, you can't really know the minds of the other players at the table. But, you can ask them if they agree with you when you think you see a conflict, right? I mean, its a simple question and there is usually no real pressure to answer either way. If I design the game well, either answer will be fun, right?
Basically, this step is here to avoid three pitfalls:
1) Meaningless conflict where no one cares about the outcome
2) Empty conflict where no one wants any outcome that is different from any other player/
3) Changing modes to the conflict mechanic when people were still exploring the previous mode
All of which I have encountered in play. And both of which I am trying to solve with communication, rather than mechanics (other than the mechanic of asking the players to talk to each other).
Maybe if you gave me a concrete alternative to wrap my arms around, I might understand where you are coming from.
Sorry, I am sure this is getting tedious for you. But if you could lend me an intellectual leg up, I would greatly appreciate it.
Dave M
Author of Legends of Lanasia RPG (Still in beta)
My blog
Free Demo
Ron Edwards
Global Moderator
Posts: 17707
Re: [Legends of Lanasia] Conflict Flow
Reply #13 on:
December 17, 2010, 05:27:57 PM »
Hi Dave,
I will provide my own view on the issue, without engaging in debate. I also suggest - as fellow poster, not moderator - that you and Callan not treat this as a debate and merely seek to lay down what you think, and be done.
I think that the Murk cannot be dispelled solely through some amazing textual rule which works for anyone, any time, whenever it is read. I do think that the text needs to address the issue, hence my post in support of Callan's point. Such text - as I see it - merely needs to be creatively honest, speaking to actual human interactions which can be encouraged, and calling out bullshit actions or willful ignorance of certain types if that's what the author wants to do.
The creative honesty needs to identify some person or some interaction which is to be relied upon, for recognizing conflict, or more colloquially, "when we go to the dice." I know that play can proceed fully functionally when a group does recognize and honor the person or process, because I've experienced it - or even more so, now
to experience it or I simply don't play with that group. So rules can't magically impose such functionality, but they can say what it should look like for this particular game, and there are real behaviors out there which can be tagged as the way to go.
My call is also that there are many, many modes or styles of such functional Murk-less authority (if it's a person) or interaction. Some nailed-down, procedural forms are available as examples, as you know - I cite Trollbabe as the first text to do this and I think it's held up awfully well too. As I see it, I do not think unconstructed consensus-based approaches work well at all. Strangely, however, text which isn't too specific procedurally, but is specific as to the potential problem, finishing with "work out a solution for yourselves," without invoking consensus, seems to work pretty well. Perhaps it can simply be a matter of helping people admit that they are in, or might fall into, the Murk.
All of that is to say that I don't think there's any point to seeking a Golden Glow of Murk Dispelment, especially one which works like a spell thrown upon the game group from the perfectly-worded game book. In this, Dave, I'm pretty sure we agree based on what you've posted here. But some text which says, "The Murk is real, keep it at bay," and "Here's when," and maybe, "Here's exactly how," with the details of all two or three parts tuned to this particular game and the types of conflicts that show up in it ... that may not be magic text, but it's golden in its own way.
Best, Ron
Callan S.
Posts: 4268
Re: [Legends of Lanasia] Conflict Flow
Reply #14 on:
December 17, 2010, 06:54:40 PM »
Hi Dave,
I'll put it this way. This (let's call it A)
But, you can ask them if they agree with you when you think you see a conflict, right? I mean, its a simple question and there is usually no real pressure to answer either way.
And this (let's call it B)
but if there is no character that will resist them, there is no conflict, right? It depends on the fiction, is there a story element that is there to resist them?
are vastly different from each other. I dunno, maybe you've got them tightly interwoven in how you think about the play so they appear to be one thing, but really they are two vastly different things.
Like how is it hitting a button better than answering a question?
As it was, with your B, how you wrote it and communicated what you meant to me, your not asking someone a question. By your own words your trying to ask the fiction a question. When the fiction doesn't exist to be asked.
With A, that works. But as I said, to me you seem to intermingle A & B even in the same post at times. As I measure it, one works, one doesn't - and the not working of B can stuff up the working of A.
Does that help explain my distinction you asked about? Even if the distiction doesn't make sense, you can alteast see I'm making one between A Vs B, even if they still seem the same to you. That distinction is what I'd like to contribute to the thread, at the very least. :)
other than the mechanic of asking the players to talk to each other
Just an extra note: As you'd have it, are they talking or just asking? To me, to talk would be, in the end, to persuade. Even here I'd mark another big distinction between talking and asking.
Philosopher Gamer
My WIP browser game: Driftwurld
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text:
Eggs are one of the most nutrient dense foods, but which of these is the healthiest?
Egg yolks can tell you a lot about the health of the chicken that laid the egg. The amount of sunlight and space a chicken has to move freely, determines its condition. Most egg-laying hens never see sunlight. They spend their lives in small, crowded cages.
Yolk Number 1
If the egg yolk is very dark, it means the chicken that has laid the egg is probably able to walk around outside freely and is well fed. The dark, almost orange, colour of the yolk indicates that both the chicken and the egg are healthy. These eggs also taste better.
Chickens raised on small, sustainable farm operations are more likely to be omnivorous rather than vegetarian. Their diets would include bugs, grubs and worms – all contributing to healthier chickens and tastier eggs.
Yolk Number 2
Chances are that the hen that laid this egg, has been living in a cage and has not been able to roam freely outside in the open air.
Caged chickens are typically fed a vegetarian diet made up of grains, with corn incorporated to give the yolks a brighter yellow hue. But not even corn can come close to providing the same colour that a natural free-range, pastured diet can.
Yolk Number 3
Hens are fed yellow-orange carotenoids, or natural yellow pigments like marigold flowers, that affect the colour of the yolk. Artificial colour additives are not allowed to be added to chicken feed, but naturally pigmented substances are sometimes added to enhance the colour of the yolk.


text:
"Just ask for the burned girl," Bina Akhter says, giving directions to her home on Dhaka's outskirts in Bangladesh. Throughout the narrow maze of streets, people nod in recognition and point. Bina greets her visitors with a strong hug and a contagious smile. Her energy matches her age--at 17, she is a giddy whirlwind.
Settling to speak, she sits on the swept concrete floor of her uncle's modest hut and tucks her long, feathery bangs behind a deformed ear, revealing a useless left eye. She recounts each painful detail of her story. Dano, a teenage boy, had a crush on Bina's cousin, who did not return his affection. One night, while Bina and her cousin were asleep in a shared bed, Dano and a few friends entered their room. Bina, to protect her cousin, jumped in front of Dano. At first, Bina thought the burning liquid thrown in her face was boiling water.
Sulfuric acid, common in car batteries and available for 50 cents a liter in garages throughout Bangladesh, dissolves iron and bores holes in wood.Imagine the effect on human flesh. Bina's eye has melted down her cheek while two holes punched into a bulb of scarred flesh act as a nose. Perfect teeth have lost the upper frame of lip, leaving her smile unconfined. She underwent numerous operations in the nine months she spent at Dhaka Medical College Hospital. Dr. S.L. Sen, the plastic surgeon who operated on Bina and who has also treated other acid victims, says, "With acid, they usually aim for the face. It symbolizes beauty. Taking away beauty takes away the woman's value."
Indeed, acid-attack victims typically see their lives all but ruined. Many are forced to give up school and work, and the recovery is long and expensive. In Bangladesh, a poor and conservative Islamic country, marriage--usually arranged--means economic survival for many women. A burned girl, considered unmarriageable, will often be rejected by her own family. She is expected to live her life in a state of shame, her face covered by a veil. She is not expected to speak out. Bina has defied all these expectations.
Acid attacks have been on the rise in Bangladesh since the first was reported in 1976. Naripokkho, a Dhaka-based women's activist organization founded in 1983, began in 1996 to track acid violence reported in local papers. The number--47 that year--surged to 130 two years later. In April 1997, Naripokkho sponsored a workshop for acid survivors. Bina, then 15, was among nine participants: Selina, 11, was the youngest, and Monira, 18, the eldest. Six girls, including Bina, were burned in incidents involving rejected suitors--the most common scenario--while two were burned by their husbands for not obtaining larger dowries. When Nargis, 14, refused to become her neighbor's second wife, he sprayed her genitals with acid while she was in the bathroom that she and her brother shared with the neighbor's family.
This brutal form of "If I cannot have her, no one will" is not just a problem in Bangladesh. In a widely reported U.S. case, in 1986 two men slashed a Manhattan model, Marla Hanson, in the face. Hanson's landlord, Steven Roth, a television makeup artist whose overtures Hanson had rejected, orchestrated the attack after Hanson broke her lease early and demanded the return of her rent deposit. In June 1998, the Milwaukee Journal Sentinel related that a man hired a woman to throw acid on his ex-girlfriend. Other attacks, motivated primarily by a woman's rejection of a man's advances, have been reported in Egypt, England, India, Italy, Jamaica, Malaysia, Nigeria, and Vietnam.
Nasreen Huq, the Naripokkho women's health project coordinator, says acid violence is usually targeted at young, beautiful women. "The motivation is revenge. In Bangladesh, an exchange of looks, or just the fact that a man likes a woman, means to him that she is obligated to like or love him." As Bina says, "If a girl says no to a marriage proposal, the boy thinks, 'I'm a good husband, I have everything. How can she not marry me?' They are so angry--they think, 'How dare she? Well, I will destroy her life.'" At Naripokkho's 1997 meeting, which gave birth to a nationwide campaign against acid violence, Bina stood out. Her outspokenness and courage inspired the other girls to share their stories and take off the veils that hid their scars.
A Naripokkho publication summarizing the event credits Bina for her "determination that the workshop not only be for grieving, but an occasion for joyous celebration because they were alive and life was still worth living." Soon after the conference, Bina was named head of Naripokkho's acid advocacy program.
She and others working against acid violence have their work cut out for them. There are few services for victims (the sole public burn unit in Bangladesh has eight cots reserved for women), and little legal recourse. Though Bangladesh law calls for the death penalty when acid throwing results in death or permanent facial damage, only a handful of perpetrators have been tried. In Bina's case, after she brought charges, community elders began bullying her uncle. She says, "I went to them and said, 'Why are you talking to my uncle? I filed the case.'" Local officials never arrested Dano; ultimately Bina's family was forced to move. Bina believes that "many stories never come out because the attacker says, 'We have money, you cannot hurt us,' or 'If you give this to the paper, we'll do worse things.'"
As the head of Naripokkho's acid program, Bina's immediate priorities are providing services for victims and raising public awareness. She tracks acid incidents reported in Bangladesh and abroad, corresponds with survivors, counsels hospital patients, and documents survivors' stories for publication. She travels throughout the country to address public gatherings about her experience and to visit survivors who cannot afford the trip to Dhaka. Nasreen Huq remembers Bina's first public speaking engagement. "We took her to Patharghata, on World Youth Day in 1997. She gave an electrifying speech--the entire town heard it because speakers were set up in the main square. The town embraced Bina. They kept saying, 'If we are staring at you, it's because we cannot imagine how cruel and inhuman a person can be.'"
UNICEF chose Bina to attend the Children's Leadership Conference in New York in July 1998. The trip--Bina's first abroad--was enlightening. She says, "I thought abuse and torture were only in Bangladesh. Everybody had similar stories." When she returned from New York, she resolved never to cover her face again. "I used to wear a veil, but now I don't want to hide anything," she says. "What happened to me isn't my fault. When people see me, they will realize the consequences of acid throwing."
Naripokkho distributes leaflets that explain what to do in the event of an acid attack. "I met a girl who went to take an exam, and some boys threw acid on her," Bina says. "She put water on her face and the burns weren't so bad. The next day, she went back to school to take her exam. She came to Naripokkho to thank me." Perhaps the most difficult, and rewarding, part of Bina's job is counseling victims. This work begins in the hospital when victims arrive for treatment. Bina visits and encourages each patient throughout the surgery and recovery process. Huq says, "Every time Bina counsels a victim, in a way she's reliving her own experience. Many times, she'll come back to the office and cry."
Bina is a role model for girls who have been attacked. "She has given everybody courage," Huq says. "Other girls come to our office and see Bina laughing and joking, and they cannot believe it. They want to be like her." A support group meets weekly at Naripokkho's offices in downtown Dhaka. At one such meeting, Bina--radiant in a gold-trimmed tangerine sari, her hair swept back in a pony tail--was surrounded by three giggling girls. Their scars varied from blistered flecks to the total absence of smooth flesh, but their shared experience joined them in a chilling sorority.
In November 1998, a Spanish company flew six acid victims to Valencia for cosmetic surgery. Huq says, "Bina was offered a place, but she felt other people needed it more than she. She was also scared." Bina acknowledges her fear: "Every time I went for an operation, I felt like I was dying. I'm scared to go through it again. I have to get an operation so my eyes are better--then I can concentrate on education. "Knowing I'm helping other people gives me the strength to continue my work," she says. "A lot of guys I see in the streets are scared of me now."
Liz Welch is a freelance writer based in New York City.


text:
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text:
HILTON HEAD ISLAND - The RBC Heritage provided a tough week for several players with area connections. But with a final-round 68, Beaufort native Mark Anderson provided some good vibes on the tournament's final day for Lowcountry golf fans.
After a couple of nondescript days at the Harbour Town Golf Links, Anderson settled in over the weekend and wound up with a top-15 finish. The PGA rookie entered Saturday's third round at 2-over par, but he fired rounds of 69 and 68 to tie Vaughn Taylor, Brian Davis and Robert Garrigus for 13th.
It was Anderson's best finish in a PGA event, and it netted him $106,875.
"I know the golf course fairly well," Anderson said. "It's one of those courses that never gets old. Every shot you hit is different. It's a lot of fun in that respect."
Kyle Stanley, the touring pro at Berkeley Hall, struggled as the tournament wore on.
Stanley began the second round at even par and got to 3 under on Friday, but things fell apart with a triple bogey on the 18th hole. He was 6 over after shooting a 76 on Saturday and finished tied for 60th at 6 over.
Savannah's Brian Harman, another rookie, hovered around par for the first few days before falling all the way to 70th with a round of 82 on Sunday. He tied for 70th.
It looked like history might repeat itself for Brandt Snedeker after a mini-rally on Saturday.
The 2011 Heritage winner made a couple of late birdies to get within striking distance of the lead. That brought back memories of last year's final round, in which he erased a six-shot deficit and won in a playoff.
"You know, I have a knack Sunday coming from behind," Snedeker said Saturday. "I feel like I'm rolling it the best I've rolled it all year, which gives me a lot of confidence going into (Sunday)."
But it never happened Sunday for Snedeker, who made two bogeys and two double bogeys on the back nine to shoot 75. He fell back into a tie for 17th.
Luke Donald never got it together, and it cost him the top spot in the world.
Donald needed a top-eight finish at the Heritage to hold onto No. 1 in the world golf rankings, but he never really came close. He finished at 2-over par and tied for 37th.
Rory McIlroy, who took the week off, moved into the top spot Monday and Donald fell to second.
Donald, who had placed in the top three at Harbour Town for three years running, shot only one round under par last week.


text:
We took to Facebook and Twitter and asked you which Virginia hikes were your favorite. Having some pretty good ones in mind ourselves, we were overwhelmed with your awesome responses and just had to create a big list. Here are some highlights and you can jump over to www.Virginia.org/Hiking/ for the complete list.
Whiteoak Canyon
A wildly popular Shenandoah National Park trail is this one. Why so popular? Six waterfalls reward your effort! The falls range from 35 to 86 feet and feature swimming holes at the bottom of each. Awesome place to propose? Yes. Awesome place to skinny dip? Not so much. Hike in one mile for the lower falls or on up another two miles (and steeper grade) to the upper falls. Park off route 600 at the Boundary Trailhead.
Or, access Whiteoak Canyon from Skyline Drive at milepost 42.6. You'll encounter the upper falls first on a 4.6-mile out-and-back hike. If you wish to go to the lower falls, know that it's a steep climb back up and adds another 2.7 miles round trip. Download the Trail Map
Molly's Knob
Hungry Mother State Park includes a 108-acre lake with 12 refreshing miles of trails around it. While one trail leads to another here, it's the Molly's Knob Trail that serious hikers adore. It's only 1.6 miles, but it's narrow, steep, and downright difficult at times before it reveals its treasure – the summit and highest point of the park at 3,270 feet – Molly's Knob. Download the Trail Map
Strickler Knob
This 5.5-mile moderate hike into George Washington National Forest is not maintained and not suitable for dogs or young children. It does, however, reward with challenging rock scrambling and stunning 360-degree views of New Market Gap and the Luray Valley, as well as a geocache. Access via Crisman Hollow Road/forest development road 274 off route 211 near Luray. This area is known as Scothorn Gap.
Dragon's Tooth
This spur off the AT overlooking the Roanoke Valley is a 4.6-mile out-and-back. At 3,000 feet, the views from this aptly named location are great. You'll know you've hit Dragon's Tooth when you see the jagged rock rising ahead of you. Access the trail via route 311 towards Catawba, past the McAfee trailhead. A parking lot is available.
Go to www.Virginia.org/Hiking/ for the complete list of favorite hikes as mentioned by our Facebook and Twitter followers. Happy Trails!
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text:
★ Don't forget to check out my graphic novel, The Poet and the Flea!
A new page every Wednesday!
Here is a brief update on my current creative projects and endeavors…!
Monday, January 28th
- Received package from Elena!
- Went to travel agent to finalize plans for Cannes and London!
- Went to Britex to buy supplies for The Flea plush toy!
Tuesday, January 29th
- E-mails, e-mails, e-mails…!
- Worked on Elias & the City of Cats.
- Prepared for tomorrow — the first day of my new internship!!!
Wednesday, January 30th
- Zest Books Internship, Day #1: Wonderful first day! Having an easy time getting into the flow of everything. Staff is extremely friendly and excited to get to know them better. Get awesome sneak peaks of upcoming titles. Friday, will be working on Tumblr and possibly doing some image research — can't wait!
Thursday, January 31st
- Not ready to announce anything yet, but amazing news (from January 20th) continuing to develop!
- Received e-mail from follower Hannah Meiklejohn (bellusmundus.wordpress.com) asking if she could write an article for a magazine about The Poet and the Flea, yay! Excited to learn more details about the article and magazine. (^-^)
- Worked on The First Reich.
Friday, February 1st
- Zest Books Internship, Day #2: Worked on historical-themed image research for most of the day, which was mostly a lot of fun! Started working on Zest's Tumblr (zestbooks.tumblr.com). Ate lunch in nearby park, which is very pleasant and relaxing and will definitely be repeated.
Saturday, February 2nd
- Happy Groundhog Day!!
- Filled out the rest of Cannes paperwork and made a checklist for what to bring (I'm Going To Cannes!!!).
- Went to see Warm Bodies with Wes! Not the most brilliant movie, but adorable and a lot of fun. (︶ω︶)
Sunday, February 3rd
- Worked on The First Reich.
- E-mailed Gabe a number of photos to show him my progress on Elias & the City of Cats.
Monday, February 4th
- Worked on The First Reich.
- For those of you watching the new Netflix series House of Cards, I highly recommend watching the original BBC version starring the brilliant Ian Richardson also available on Netflix.
Tuesday, February 5th
- E-mails, e-mails, e-mails…!
- Worked on The First Reich.
- Worked on first zine.
- Worked on Elias & the City of Cats.
Wednesday, February 6th
- Ran into a neighbor on the bus to work today, and she'd like to hire me to help her with her WordPress. We'll see what happens… (^-^)
- Zest Books Internship, Day #3: Worked on creating prom tips for Zest's Tumblr as well as a mailing project. Getting to know everyone in the office better — everyone's super easy to talk to. Took home a copy of Zoo Station to read.
- Wow, I adore this new FX show The Americans! Amazing character development and really scary/exciting. Can't wait for the next episode.
Thursday, February 7th
- Meeting with Shannon! She is so sweet and was so incredibly excited to see what I had drawn so far. For more details, check out "The First Reich": Behind the Scenes (Part 1).
- Doing some research on webcomics.
Friday, February 8th
- Zest Books Internship, Day #4: Continuing work on Tumblr! Sat at Ann's desk today — she happens to have a David Bowie paper doll (with multiple outfits) taped to her computer, which brings me endless joy. Got to know fellow intern Olivia a bit better. Extremely excited to proofread/edit the back cover blurb for an upcoming book. Also got to share my opinion on some cover art!
Saturday, February 9th
- Went to see Lewis Black with Wes and the folks! Stomach hurts from laughing so much!
Sunday, February 10th
- Finally got to talk with my good friend from high school Tina! Talked on the phone for over 2 hours! (^-^;;)
- Worked on TOP SECRET project.
Monday, February 11th
- Went downtown today to pick up some more supplies from Britex for The Flea plush toy.
- As I mentioned before, one of my followers Hannah Meiklejohn (hannahmeiklejohn.wordpress.com) asked to do an article about me and The Poet and the Flea for an online magazine called Lemonade: Freshly Squeezed Art & Culture Magazine — so exciting!!! Today, I'm working on answering some interview questions from her. Can't wait to read the finished article. ヽ(°◇° )ノ
Tuesday, February 12th
- Did a little shopping in preparation for Cannes. A lot more shopping to do in the next few months.
- Finished writing responses to Hannah's questions. Just have to edit a bit and then send them to her.
- Worked on TOP SECRET project.
Wednesday, February 13th
- Zest Books Internship, Day #5: More historical-themed image research and Tumblr. Asked to do some brainstorming for book ideas. Ended up walking all the way home today since the bus skipped a lot.
Thursday, February 14th
- Worked on The First Reich.
- Worked on first zine.
- E-mails, e-mails, e-mails…!
Friday, February 15th
- A few days ago, e-mailed the Tate Gallery about information on their William Blake collection. Today, received response with good news. Will talk about this more in upcoming post.
- Received e-mail from Hannah! She sent a draft of the article, and it looks really wonderful so far. Just have to answer a couple follow-up questions. \(^-^)/
- Zest Books Internship, Day #6: More historical-themed image research and Tumblr. Also, talked about a potential book idea I came up with, and some of the staff seems interested! Next week, will be attending the Teen Advisory Board on Wednesday and a staff meeting on Thursday. Very excited!
Saturday, February 16th
- Ordered a beautiful dress to wear at Cannes. I needed a maxi dress for pool parties, etc. and couldn't find the right one in stores. So I browsed Etsy and found the talented Nicole Lebreux! Not only does Nicole have really fun designs, but also she was extremely helpful in answering my questions. So go ahead and check out her shop!
- Went to see a simulcast of the new Met production of Verdi's Rigoletto. The opera is usually set in the 16th century, but this production cleverly reimagines the story in 1960s Las Vegas. Wonderfully creative and engaging production with incredible singers! Preview: https://www.youtube.com/watch?v=9-zXLKd76fk.
Sunday, February 17th
- Worked on some upcoming blog posts.
- Date night with Wes! 🙂
- The Poet and the Flea: 63 pages of written script (1 page of script = 4-6 illustrated pages), and about 36 pages (1-24, 27-30 completed, and 25-26, 31-36 in progress) of illustrated work.
- The First Reich: about 1-10 pages of illustrated work in progress.
- First Zine: about 6-8 pages of illustrated work in progress.
To Do:
- Add more information to my Behance.net profile.
- Add more information to my Coroflot.com profile.
- Continue adding blog content to The First Reich.
- Continue to work on The First Reich.
- Continue to work on Elias & The City of Cats.
- Complete script for The Poet and the Flea.
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Copyright 2013 by G. E. Gallas


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Featured News - Current News - Archived News - News Categories
Grand Islander Dr. Adrienne Cassata, an optometrist with Fichte Endl & Elmer Eyecare, will take her skills and experience to benefit the less fortunate when she travels on a medical mission to the Dominican Republic this month.
The staff and technicians at both Fichte Endl & Elmer Eyecare's offices in Amherst and Niagara Falls have been busy for months collecting donated eyeglasses for Cassata to take on her trip. The glasses have been cleaned and adjusted, the prescription has been read, and each pair has been filed for distribution. Thousands of glasses were collected over the past year in preparation for the mission.
Cassata will be going with her church, The Chapel, on what she considers a life-changing adventure. Once in the Dominican Republic, she will distribute the glasses, do eye exams and help wherever she can.


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International machine safety standards
Anticipated international machine safety standards improve design flexibility and safety performance.
Keeping up with changing safety standards is nothing new for machine builders. But the international safety standards mandated by the European Commission's Machinery Directive are reshaping how global machine builders approach machine safety system design.
As it relates to functional safety, EN 954-1, the standard that categorizes safety levels, is being superseded by two standards that will coexist. Machine builders and integrators can choose to conform to the requirements of EN ISO 13849-1 or EN/IEC 62061 to demonstrate compliance with the machinery directive. The European Commission extended the deadline (originally Dec. 29, 2009) for transition from EN 954-1 to EN/ISO 13849-1 until Dec. 31, 2011. This additional period of time should be viewed as an additional transition period, not as an extension to EN 954-1.
With this adoption of these functional safety standards, designers will need to assess the reliability of safety components by adding a quantitative calculation to the control safety system design. While this means more steps and procedures, it also offers benefits. Namely, these standards result in a methodical approach that can lead to machinery with more predictable performance, greater reliability and availability, and improved return on investment.
EN ISO 13849-1 ("Safety of machinery, Safety-related parts of control systems") builds on EN 954-1, specifying system reliability in one of five performance levels (PLs) based on a "hardware-oriented structure," calculated mean time to dangerous failure, and diagnostic coverage of the safety function. A significant revision in the standard requires defining the statistical probability of an unwanted occurrence or failure. In other words, it forces the designer to validate that the control system does what is required of it. This standard applies beyond electric/electronic systems to include mechanical, hydraulic, and pneumatic safety related parts of the control systems.
EN/IEC 62061 ("Safety of Machinery—Functional safety of safety-related electrical, electronic and programmable electronic control systems") describes the amount of risk to be reduced and the ability of a control system to reduce that risk in terms of safety integrity level (SIL). The machinery sector uses three SILs; SIL 1 is the lowest and SIL 3 is the highest. A SIL applies to a safety function. The subsystem making up the system that implements the safety function must have an appropriate SIL capability.
Less complexity, better reliability
Historically, standards mostly were prescriptive in nature and simply provided guidance on the structure of control systems to ensure that safety requirements were met. In fact, some people considered EN 954-1 to be an overly simplistic approach because it did not require designers to assess the reliability of safety components in relationship to time. Using the principles of redundancy, diversity, and diagnostics, categories of safety system "structures" were created to help ensure that the safety function would be performed. But a very important element was missing: time.
Functional safety adds a "time" element to build on the existing safety structure (category) approach. This addition instills a reinforcing level of confidence that the safety system will perform properly today and tomorrow. In other words, designers have more information—and therefore more confidence—about the reliability of the safety function. The time element causes more up-front pain for safety component suppliers because of the increased product testing and performance documentation requirements. However, in the long run, it should result in less pain for machine operators and safety system designers due to the ability to quantify circuit reliability.
Ability to define performance requirements will give designers more flexibility to tailor their circuits to meet the specific needs of the application, rather than generalizing the overall design based on the simpler, more prescriptive requirements of the past.
For example, in conducting a risk assessment under EN ISO 13849-1, a designer may find that Performance Level d is required. The bar chart reveals four alternatives. A Category 2 (zero fault tolerant) structure with a very high mean time to dangerous failure and low diagnostic coverage may be the least expensive solution. At the other end of the spectrum, a Category 3 (single fault tolerant) system with medium diagnostics may be the ideal solution. Rather than taking a conservative approach and potentially overcompensating on the design, this approach gives designers more flexibility to specify a more optimum level of safety to meet the individual application demands.
Standard EN (IEC) 62061 offers similar flexibility. For example, a risk assessment performed in a different safety application may determine the need for a SIL 2 rating. The table gives three options for achieving SIL 2. The trade-off is hardware fault tolerance with diagnostics. With zero fault tolerance (single channel), 90% to 99% of the failures that occur must be safe failures. If a single channel system with appropriate diagnostics is too difficult or expensive to achieve, then a single fault tolerant structure (dual channel) with a lower safe failure fraction can be used. The third alternative is a two fault tolerant system (two out of three channel) with little or no diagnostics (less than 60% safe failures).
In all instances, the ability to tailor the specific safety functions to the application helps reduce cost and complexity, improves machine sustainability, and helps achieve a more optimum level of safety for each particular safety circuit or function.
This performance-based approach also makes it easier for designers to quantify and justify the value of safety. Previously, a designer may have had difficulty understanding—or explaining—why a costly or seemingly sophisticated safety system was needed for a particular application; it was simply required per the standard. Now, with the ability to quantify circuit reliability through specific performance and system integrity calculations, the designer can show the value in terms of actual risk reduction and thereby more easily justify safety expenditures.
Next steps
To meet the safety standards, each component in the safety system must have an assigned probability of dangerous failure or mean time to dangerous failure. Historically, this type of information has not been widely available, though it is now. Most manufacturers are recertifying their products to meet the performance level requirements, as well as SIL ratings. This all takes time, but the results will mean better safety system designs with more quantifiable results.
The current challenge for machine builders is two-fold. First, they need to understand what the requirements of the Machinery Directive are and how these impact design and component selection. Second, they need to understand the documentation requirements and begin gathering the functional safety data needed from the component suppliers to support their safety designs with either an SIL or PL for the system.
Many electronic component safety manufacturers are embracing the standards by indicating the SIL level the system containing the safety component could achieve, and by supplying safety data for PL and SIL verification. This allows designers to take that information and perform the necessary calculations to meet the application requirements per the standards.
Component suppliers also are offering education and training programs, and tools to help reduce the documentation complexity. Rockwell Automation, for instance, provides a product library file designed for use with the Sistema calculation tool. The Sistema tool, developed by Germany's IFA organization, automates calculation of the attained PL of the safety-related parts of a machine's control system in the context of EN ISO 13849-1.
This tool and product libraries from component suppliers provide machinery and control system designers with comprehensive support in the evaluation of safety in the context of EN ISO 13849-1. Engineers are spared time-consuming consultation of tables and calculations of formulae since the software performs these tasks. Final results can be printed in a multiple-page report. )
The machine safety world continues to change, and the European Union's mandate of rigorous international safety standards represents a giant leap forward. Ultimately, the standards will provide safer machine control systems and more flexibility to achieve and cost-justify safer designs. Though the deadline is months away, machine builders should take steps now to evaluate the directive's impact on their equipment and prepare accordingly before the directive becomes mandatory.
Mike Miller is FS TÜV expert, global safety market development, and Wayne Solberg is global technical consultant, with Rockwell Automation.
Rockwell Automation


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Pseudopod 331: The Ninth Skeleton
"The Ninth Skeleton" was first published in a 1928 issue of the Weird Tales. Most recently, the story was republished in THE END OF THE STORY: VOLUME ONE OF THE COLLECTED FANTASIES OF CLARK ASHTON SMITH – the first of six definitive volumes of Smith's collected work published by Night Shade Books of San Francisco, from which this episode's approved text was taken (and thanks to both Night Shade and the Smith Estate). To purchase this or other volumes of Smith, please visit them at the link: Night Shade Books – and tell them Pseudopod sent ya!
The iconic horror and fantasy fiction pulp magazine, Weird Tales, in its time published many if not all of the top writers in these genres, but according to critics, three stand out and have clearly endured: H.P. Lovecraft, Robert E. Howard, and CLARK ASHTON SMITH (1893-1961). Put simply, Smith is a master of fantasy prose. Noted author and editor, Richard Lupoff, says of Smith, "Every glittering image demands our time and attention." Listening to the story, one might do well to keep in mind that Smith primarily considered himself a poet, which perhaps explains his ability to mesmerize his audiences with language, not just plot. Smith was a self-educated American poet, sculptor, painter and author of fantasy, horror and science fiction short stories and was born January 13, 1893 in Long Valley, California, of English and Yankee parentage. He spent most of his life in the small town of Auburn, California, living in a small cabin built by his parents. His formal education was limited: he suffered from psychological disorders including a fear of crowds and was home schooled. But he was an insatiable reader and his education began with the reading of ROBINSON CRUSOE, GULLIVER'S TRAVELS, the fairy tales of Hans Christian Anderson and Madame d'Aulnoy, THE ARABIAN NIGHTS and (at the age of 13) the poems of Edgar Allan Poe. Smith professed to hate the provinciality of the small town of Auburn but rarely left it until he married late in life. In his later youth, Smith made the acquaintance of the San Francisco poet George Sterling through a member of the local Auburn Monday Night Club, where he read several of his poems with considerable success. He became Sterling's protégé and Sterling helped him to publish his first volume of poems, THE STAR-TREADER AND OTHER POEMS (1912). Smith received international acclaim for the collection and was received very favorably by American critics, one of whom named Smith "the Keats of the Pacific". Smith briefly moved among the circle that included Ambrose Bierce and Jack London, but his early fame soon faded away. In 1920 Smith composed a celebrated long poem in blank verse, "The Hashish Eater, or The Apocalypse of Evil" which was published in EBONY AND CRYSTAL (1922). This was followed by a fan letter from H. P. Lovecraft, which was the beginning of 15 years of friendship and correspondence. Smith was poor for most of his life and often did hard manual jobs such as fruit picking and woodcutting in order to support himself and his parents. He was an able cook and made many kinds of wine. He also did well digging, typing and journalism, as well as contributing a column to The Auburn Journal and sometimes worked as its night editor. At the beginning of the Depression in 1929, with his aged parents' health weakening, Smith resumed fiction writing and turned out more than a hundred short stories, nearly all of which can be classed as weird horror or science fiction. Like Lovecraft, he drew upon the nightmares that had plagued him during youthful spells of sickness. At age 61, he married Carol Jones Dorman. In August 1961 he quietly died in his sleep, aged 68.
Clark Ashton-Smith's work is comprehensively discussed on the informative podcast The Double Shadows and the lovingly detailed website The Eldritch Dark. Please check them both out – you wont regret it.
Your reader this week – Corson Bremer – is an American living in France. He began acting professionally, as well as working as an on-air presenter in radio, while still in college in the States studying theater and technical communication. In his varied career he has been an actor, Technical Director and Set Designer for the theater; a commercial copywriter, Program Director, and producer for radio; a grant writer for non-profit organizations; and a technical writer writing user documentation for hardware and software for companies like Bull, Alcatel-Lucent, HP, and Thomson Reuters. After moving to France in 1990, and with the multimedia boom on the Internet, he combined his acting and narration skills with his technical writing experience to create voice-overs for e-learning and web videos. His big break in voice-over came when he was cast to perform characters in 2 video games for Ubisoft Paris. He set up his professional home studio and has worked internationally as a professional voice artist in commercials, video games, machinima, technical narration, audio guides, and corporate web videos since 2002. Other than "The Ninth Skeleton", Corson's most recent major project was voicing 5 different characters for Spiders Games' new video game for XBox Live, PSN and PC, MARS: WAR LOGS scheduled for release in Spring 2013. Corson's website can be found here.
"It was beneath the immaculate blue of a morning in April that I set out to keep my appointment with Guenevere. We had agreed to meet on Boulder Ridge, at a spot well known to both of us, a small and circular field surrounded with pines and full of large stones, midway between her parents' home at Newcastle and my cabin on the north-eastern extremity of the Ridge, near Auburn."
PLEASE HELP PSEUDOPOD AND ANSWER A VERY SHORT DEMOGRAPHIC SURVEY AT THIS LINK. IT WILL HELP US IMMEASURABLY! and thank you!


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Boomcases: Discarded Luggage Into Audio Speakers
It doesn't matter what thrift store you go into, you're sure to find vintage luggage. This Etsy seller is making the most of these traveling companions from yesteryears and is turning them into something a little more audible. Yup, now you can reduce, reuse and rock out with former travel accessories converted into home audio gear.
Speakers! These suitcase speaker sets are made by Etsy seller Iam SiMo. They carry on board battery supply that will keep you thumpin' for a solid seven hours, the perfect amount for a picnic, outdoor adventure or even just an afternoon of working in the yard (in style that is).
A recent supply of suitcases has just been picked up so you should start seeing new Boomcases either online or over at Etsy for a few hundred dollars. It that's too rich for your blood, try making one yourself (and send us photos), the artist suggest skipping plastic all together and going straight for leather and wood cases.
Image: Boomcases by SiMo


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Neither 50 Cent or Slim the Mobster are backing down from their longstanding Twitter beef, which was ignited yet again after Fif told Slim that he was getting dropped from Aftermath.
"SLIM U R dropped,you will get the call ths week.DRE's a boss nobody wants 2 tell him. It's OVER ☺ SMSaudio"
50's news didn't come as a shock to Slim, who confirmed that he's been off the label since October 17th, but it did rile the rapper up on Twitter. Slim continued to bash Fif with a barrage of tweets, which ranged from claiming that 50 Cent was gay, to saying that he had an affair with late music exec Chris Lighty's wife.
"Ok so now im a put some shit out there ... on my Twitterforum feddicent was having an affair with chris lighty wife"
Check out all of the tweets in the above slide:


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|Episode Description
|Sunday, Apr 28, 2013 - 10:00 AM
"Rosie, Oh, Rosie, Oh!"
This live-action program follows the exploits of Wishbone the dog and his human friends, Joe, David and Samantha through their adventures in their hometown of Oakdale. Wishbone's everyday experiences trigger his imagination and he finds himself in scenes from classic works of literature. In this episode, faulty communication separates Wishbone and Samantha from a beagle they both love. D
Mountain Time
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Blue Letter Bible offers several daily devotional readings in order to help you refocus on Christ and the Gospel of His peace and righteousness.
Recognizing the value of consistent reflection upon the Word of God in order to refocus one's mind and heart upon Christ and His Gospel of peace, we provide several reading plans designed to cover the entire Bible in a year.
And the LORD spake unto Moses and Aaron in the land of Egypt, saying,
This month shall be unto you the beginning of months: it shall be the first month of the year to you.
Speak ye unto all the congregation of Israel, saying, In the tenth day of this month they shall take to them every man a lamb, according to the house of their fathers, a lamb for an house:
And if the household be too little for the lamb, let him and his neighbour next unto his house take it according to the number of the souls; every man according to his eating shall make your count for the lamb.
Your lamb shall be without blemish, a male of the first year: ye shall take it out from the sheep, or from the goats:
And ye shall keep it up until the fourteenth day of the same month: and the whole assembly of the congregation of Israel shall kill it in the evening.
And they shall take of the blood, and strike it on the two side posts and on the upper door post of the houses, wherein they shall eat it.
And they shall eat the flesh in that night, roast with fire, and unleavened bread; and with bitter herbs they shall eat it.
Eat not of it raw, nor sodden at all with water, but roast with fire; his head with his legs, and with the purtenance thereof.
And ye shall let nothing of it remain until the morning; and that which remaineth of it until the morning ye shall burn with fire.
And thus shall ye eat it; with your loins girded, your shoes on your feet, and your staff in your hand; and ye shall eat it in haste: it is the LORD'S passover.
For I will pass through the land of Egypt this night, and will smite all the firstborn in the land of Egypt, both man and beast; and against all the gods of Egypt I will execute judgment: I am the LORD.
And the blood shall be to you for a token upon the houses where ye are: and when I see the blood, I will pass over you, and the plague shall not be upon you to destroy you, when I smite the land of Egypt.
And this day shall be unto you for a memorial; and ye shall keep it a feast to the LORD throughout your generations; ye shall keep it a feast by an ordinance for ever.
Seven days shall ye eat unleavened bread; even the first day ye shall put away leaven out of your houses: for whosoever eateth leavened bread from the first day until the seventh day, that soul shall be cut off from Israel.
And in the first day there shall be an holy convocation, and in the seventh day there shall be an holy convocation to you; no manner of work shall be done in them, save that which every man must eat, that only may be done of you.
And ye shall observe the feast of unleavened bread; for in this selfsame day have I brought your armies out of the land of Egypt: therefore shall ye observe this day in your generations by an ordinance for ever.
In the first month, on the fourteenth day of the month at even, ye shall eat unleavened bread, until the one and twentieth day of the month at even.
Seven days shall there be no leaven found in your houses: for whosoever eateth that which is leavened, even that soul shall be cut off from the congregation of Israel, whether he be a stranger, or born in the land.
Ye shall eat nothing leavened; in all your habitations shall ye eat unleavened bread.
Then Moses called for all the elders of Israel, and said unto them, Draw out and take you a lamb according to your families, and kill the passover.
And ye shall take a bunch of hyssop, and dip it in the blood that is in the bason, and strike the lintel and the two side posts with the blood that is in the bason; and none of you shall go out at the door of his house until the morning.
For the LORD will pass through to smite the Egyptians; and when he seeth the blood upon the lintel, and on the two side posts, the LORD will pass over the door, and will not suffer the destroyer to come in unto your houses to smite you.
And ye shall observe this thing for an ordinance to thee and to thy sons for ever.
And it shall come to pass, when ye be come to the land which the LORD will give you, according as he hath promised, that ye shall keep this service.
And it shall come to pass, when your children shall say unto you, What mean ye by this service?
That ye shall say, It is the sacrifice of the LORD'S passover, who passed over the houses of the children of Israel in Egypt, when he smote the Egyptians, and delivered our houses. And the people bowed the head and worshipped.
And the children of Israel went away, and did as the LORD had commanded Moses and Aaron, so did they.
And it came to pass, that at midnight the LORD smote all the firstborn in the land of Egypt, from the firstborn of Pharaoh that sat on his throne unto the firstborn of the captive that was in the dungeon; and all the firstborn of cattle.
And Pharaoh rose up in the night, he, and all his servants, and all the Egyptians; and there was a great cry in Egypt; for there was not a house where there was not one dead.
And he called for Moses and Aaron by night, and said, Rise up, and get you forth from among my people, both ye and the children of Israel; and go, serve the LORD, as ye have said.
Also take your flocks and your herds, as ye have said, and be gone; and bless me also.
And the Egyptians were urgent upon the people, that they might send them out of the land in haste; for they said, We be all dead men.
And the people took their dough before it was leavened, their kneadingtroughs being bound up in their clothes upon their shoulders.
And the children of Israel did according to the word of Moses; and they borrowed of the Egyptians jewels of silver, and jewels of gold, and raiment:
And the LORD gave the people favour in the sight of the Egyptians, so that they lent unto them such things as they required. And they spoiled the Egyptians.
And the children of Israel journeyed from Rameses to Succoth, about six hundred thousand on foot that were men, beside children.
And a mixed multitude went up also with them; and flocks, and herds, even very much cattle.
And they baked unleavened cakes of the dough which they brought forth out of Egypt, for it was not leavened; because they were thrust out of Egypt, and could not tarry, neither had they prepared for themselves any victual.
Now the sojourning of the children of Israel, who dwelt in Egypt, was four hundred and thirty years.
And it came to pass at the end of the four hundred and thirty years, even the selfsame day it came to pass, that all the hosts of the LORD went out from the land of Egypt.
It is a night to be much observed unto the LORD for bringing them out from the land of Egypt: this is that night of the LORD to be observed of all the children of Israel in their generations.
And the LORD said unto Moses and Aaron, This is the ordinance of the passover: There shall no stranger eat thereof:
But every man's servant that is bought for money, when thou hast circumcised him, then shall he eat thereof.
A foreigner and an hired servant shall not eat thereof.
In one house shall it be eaten; thou shalt not carry forth ought of the flesh abroad out of the house; neither shall ye break a bone thereof.
All the congregation of Israel shall keep it.
And when a stranger shall sojourn with thee, and will keep the passover to the LORD, let all his males be circumcised, and then let him come near and keep it; and he shall be as one that is born in the land: for no uncircumcised person shall eat thereof.
One law shall be to him that is homeborn, and unto the stranger that sojourneth among you.
Thus did all the children of Israel; as the LORD commanded Moses and Aaron, so did they.
And it came to pass the selfsame day, that the LORD did bring the children of Israel out of the land of Egypt by their armies.
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