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Category: RPG Theory
Anatomy of a roleplaying game (LONG)
July 21, 2016 January 26, 2021 Josh Fox 9 Comments
Georges Cuvier, totally relevant to gaming.
Georges Cuvier, the legendary father of palaeontology, boasted that he could deduce the class and even genus of an animal based on a single bone, because the "correlation of parts" ensures that every component of the animal's body are related. In other words, every animal is specialised for a particular way of functioning, and therefore every part of the animal reflects that way of functioning.
You can say the same of roleplaying games. There are plenty of games which boast of being completely generic, or of being able to handle just about any situation. But upon close inspection of even individual parts of a game, it is possible to discern a great deal about that game's way of functioning. Just as an animal has a specialised "design", games have a literal specialised design that can be observed in individual components of the game.
Before I go on, let's pause to consider the difference between the design of a game – its procedures, guidance and fictional material – and the way it's actually played. A game is, after all, not really an organism but a tool. We can learn a great deal from studying a tool, but its full functioning only emerges when we see how it is used. Even so, if a tool is well-designed, its designer will have envisaged a particular way of using it which the design will then promote and support. You can use a kitchen knife to cut paper, and you may even get quite good at using it that way, but it is designed to cut food and that is where it comes into its own.
Let's take as a simple case study the so-called "traditional" game. This is a class of beasts rather than a single animal, but its members have components in common from which we can deduce a common function. I'm going to look at three such components: the GM; difficulty checks; and ratings for weapons and armour.
First and most fundamental, the GM. Games vary wildly in how they implement this component, but the "traditional" approach is for one person to exercise their judgement and creativity to plan a fictional setting and events, which form the context for a situation that same person creates, populated by people,
Your guide in the realm of…
creatures and phenomena that person describes and controls, regulated by rules that person adjudicates up to and including ignoring the rules in favour of their own rules or ad-hoc decisions. Everyone else describes and controls one character within that setting and situation.
Given that description of a GM, a game design Cuvier would conclude that this was an incredibly important role. The backbone of the game in which it featured. It is possible for a GM to take a highly collaborative, discursive approach, but the role's natural oeuvre is autocratic – there's nothing in that description I just gave about collaboration except at the interface between the player characters' actions and the rest of the world. And because they control so much, they dictate the terms by which the other players must engage with the game.
Returning briefly to what I said earlier about the way a game is actually played, it's really important to acknowledge that a lot of groups, whether their particular game tells them to or not, do in fact adopt this more collaborative approach. GMs may look to their players for subtle cues to help them craft an experience that will be satisfying for their players, or they may be much more explicit, discussing what the players want from the game and giving them creative input on setting and even situation. But that is not what the game component known as the GM is designed for.
No, the GM as a design component is clearly aimed at producing a specific experience: highly guided play, where one person decides broadly what the game is going to be about and then prepares and moderates the game accordingly. As an experience it's close to a choose-your-own-adventure story, but with the vastly expanded flexibility for action implied by decisions being run through a human brain instead of a branching flowchart. I'm not going to go into a discussion of other approaches but it should be obvious that there are many other possible experiences a game could promote.
Moving on: difficulty checks. These
Polyhedral dice, how I love thee.
are a ubiquitous mechanic across a range of games, and in most games that have difficulty check mechanic, that is the single core mechanic for handling conflict (outside of combat which sometimes has its own dedicated mechanic). Characters have some numerical stat (attribute, skill, talent, whatever) and via some kind of randomisation they either succeed at a task (if they beat a difficulty number) or fail (if they don't). Maybe there will be degrees of failure, yes-and, no-but, etc, but fundamentally the mechanic is about: can this character overcome this obstacle, avoid this risk, complete this task.
The fact that so many games make this sort of mechanic the core of their ruleset tells you one simple thing: they want you to tell stories that are about trying to do stuff and succeeding or failing. In other words, what Robin Laws would call "procedural beats". There are lots of great stories you can tell that revolve around success and failure: action movies and police procedurals, for instance[*]. But, once again, there are many other possible experiences a game could provide.
Let's also pause to note the link between these first two components: the GM typically decides when a difficulty check is needed, what the difficulty level should be and what the consequences of success of failure are. So in games with a GM, difficulty checks are a key tool that can and often are used to help the GM control pacing and dictate the terms of the story; they help to make the game even more of a guided experience. Once again, we observe Cuvier's principle of the correlation of parts.
Finally, ratings for weapons and armour. A lot of games, and virtually all games that have both a GM and difficulty checks, include rules for inflicting damage on characters. This very often means a set of numbers telling you how much damage weapons do, and how good armour is at blocking that damage. (Sometimes the "weapon" is a spell, or the "armour" might be a mutation or something, but it's the same principle.) In most such games, no other sphere of activity is delved into in that level of detail: we don't (usually) have ratings for various investigative tools, or for how different types of terrain interact with stealth, or anything like that.
What this tells us should be obvious: the game is about fighting. We need all that detail about weapons and armour because we're going to be doing a lot of fighting and we care about giving it a level of granularity (perhaps "realism") that we don't need for other areas.
Now this last one is so ubiquitous that many games that really are not supposed to be about fighting nevertheless include it. Call of Cthulhu is about investigation and being traumatised by gribblies. Fighting is mostly futile, and not a central part of the Lovecraftian genre at all. Yet it includes special skills for different kinds of weapon, and ratings for their damage levels (pre-7th edition, at least – I haven't seen it). This is arguably bad design: it doesn't seem necessary or particularly useful as a component of that type of game. Such games typically fall back on guidance to let you know what the game is "really" about, or a well-understood culture amongst the fan-base.
The point is, these are not "generic" rules or vanilla design choices, they support a specific type of play. Each of these rules reinforces that type of play, promoting a very specific experience. A single person plans and guides the experience, which is mostly about struggling with obstacles and fighting threats. Individual groups may graft on other aspects of the experience or house-rule or ignore the rules to get the experience they want: but a study of the anatomy of those games provides a clear view of what they're designed to do.
[*] Aside: I'm not actually sure there are that many great stories about success and failure. When I think about stories I've enjoyed even within the broad category of "mostly procedural", the heroes largely succeed unless they're overmatched. When they're overmatched it usually marks out the key obstacle of the story, which the heroes must then struggle to somehow overcome through cleverness, a macguffin, some kind of montage, whatever. It's pretty rare for random success or failure to generate interest. But whatever, it's a popular model.
MC Moves in PbtA: a different way of doing it
July 4, 2016 January 26, 2021 Josh Fox 2 Comments
I find it confusing the way that the MC Moves in Apocalypse World and its children focus on the outputs of the fiction instead of the entities in the fiction.
What do I mean by that? Let's take an example: in Apocalypse World, you "announce future badness". You have to decide for yourself what kind of badness we might be talking about and, notwithstanding the greater structure provided by AW's clocks and fronts, it could essentially be anything from "a dangerous person with a stick of dynamite has arrived" to "the dangerous person with their dynamite is about to blow up the holding". There's nothing in the system of moves to distinguish between the first arrival of a threat, which is in itself a sort of announcing future badness, and the actualisation of the threat, the imminent inflicting of harm or other unpleasantness. It's just "future badness". Similarly, "inflict harm as established" is just harm, the move doesn't tell you anything about where the harm comes from.
I find this very counter-intuitive. When I'm MCing, I am thinking about threats, characters, events – stuff in the fiction which might generate "future badness" or "harm as established" or similar. I don't think "how could I inflict harm on someone right now", I think, "What might Mr John Q Dangerous do next? Oh! He may inflict some harm with his stick of dynamite!" Every time I read through the list of AW moves I find myself having to translate it into a language I can understand.
So here's how I would recast MC Moves. A list of Moves, from the softest of the soft to the hardest of the hard.
1. Introduce someone or something that has the potential to be a threat or an opportunity. A guy with a gun. A person with power. A mighty storm. Right now, their mere existence is all you're announcing. You're saying "here is a threat that isn't currently threatening you".
2. Actualise the threat or opportunity by giving that someone or something a reason to become threatening, or if they already had a reason, by giving them new access to or awareness of the players and their concerns. So, the guy with a gun realises the players are working for his arch-enemy. The person with power, who is looking to recruit new followers, notices the players in her territory and she decides to go after them. The storm enters the valley the players are in.
3. Activate the threat or opportunity by having it make a concrete move to harm the players or their concerns. The guy with the gun points it at the players, he's about to fire it. The person with power sends a squad of goons to round the players up. The storm begins to lash the players and lightning flashes all around – they need to seek shelter or they'll take harm.
4. Enforce the consequences if the players fail to block or evade the activated threat, or if they take appropriate action to take advantage of the activated opportunity. The players take harm from the guy's gun. Having treated with the powerful person, she gives the players new equipment and authority. The players are given the condition "freezing and exhausted" by the storm.
That fourth category contains many of the moves in AW: inflict harm, trade harm, capture someone, take away their stuff and so on. But many of the AW moves cover the whole gamut of the first three categories: you can announce future badness by introducing a threat, actualising it or activating it. Similar thinking goes for opportunities, off-screen badness, and so on.
By the way, I realise this isn't entirely novel. The countdown clocks do something similarish. But hopefully this provides a helpful general set of steps for moving a threat from first appearing on the horizon to being all up in your face.
AW's dirty secret: you can say anything
November 21, 2015 January 26, 2021 Josh Fox 4 Comments
As part of my endless quest to spend every waking moment of my life obsessing about game design, I have spent some time analysing the MC moves in Apocalypse World. And here's what I learned: what at first looks like a long and fairly complex list of options could actually be boiled down to "say something, anything".
Ok, it isn't quite that simple, as I'll explain in a moment. But let's take a look at the basic moves (i.e. those which don't come from a front).
Announce future badness, announce offscreen badness. This translates to "tell us something bad is happening, or about to happen". Obviously, it also has to be something the players weren't previously aware of, else it isn't announcing, obvs. Minor subtlety: it has to be badness. Bad for whom? The game doesn't specify, and at times it makes it clear that moves don't have to be against the players, they can be against anyone. If that applies here too, then this is truly a flexible set of moves indeed – announce anything that could be bad for someone. In that case, I could just write "QED" here and be done. It probably doesn't apply here, though.
Offer an opportunity (with or without a cost), tell the consequences and ask. This translates to "tell us something that might happen depending on what we do next". Now, a particular corollary of this, combined with the "be honest" rule is that whatever that something is, it will definitely happen as described unless someone acts appropriately. So this move boils down to "say what is about to happen and then do it unless someone stops it". Already we have the basis for essentially anything to happen.
Remember that all the previous four moves can be used with just about any time period attached. Future badness could mean "in the next five seconds" or "in a year's time".
Put them in a spot. This translates to "make something bad happen", more or less. Ok, perhaps it's a bit more specific – it implies they're going to have difficult choices to make or challenges to overcome. But that pretty much boils down to "make something bad happen".
Capture them, separate them, take away their stuff, inflict harm (as established), trade harm for harm (as established), turn their move back on them. Obviously, these are much more specific. The harm moves are the system's means to link what the MC says to the harm system, and to prevent the MC from just killing a PC (the principles prevent you doing that anyway, but this bit of system reinforces it). The others are more-or-less just specific examples of someone being put in a spot i.e make something bad happen.
Make them buy. This is just a sub-type of offering an opportunity and/or telling the consequences. It amounts to a prompt to think about barter and other such trade/negotiation.
So essentially everything can be boiled down to "say what might be about to happen" or "make something bad happen". This looks like it rules out nice things happening, but of course it doesn't – if you offer an opportunity and someone takes it, something nice will happen. But clearly, for the most part, nice stuff is there to prompt the characters to action so they can get the nice stuff.
So this is maybe not quite just "say anything", but it's pretty close. It's extremely close – maybe indistinguishable from – "say anything that the players won't want to ignore". (This seems jolly close to the Dogs in the Vineyard formula, from the same game designer of "do something they can't ignore" when engaging in conflict.)
What's my point? Well, mostly it's just a bit of analysis I did, and I felt like writing it up. But it matters to me because, when I first started playing PbtA games, I remember staring at the moves list when it was my turn to act. Blinded by the sheer range of options. Paralysed, at times. But in practice, if I'd just fallen back on the principles and said something – anything – that the players would be expected to give a damn about, it would probably be fulfilling one of the moves.
I think the AW moves list is probably intended to function as a prompt, to help MCs mentally brainstorm their options in the few seconds before they open their mouth. Occasionally I think I'd find that useful. But I think for the most part I'll just be saying the first thing that comes to mind, in future. I'm pretty sure I'll end up sticking to the rules as I do so.
Rolling versus fictional positioning
November 2, 2015 January 26, 2021 Josh Fox Leave a comment
So, I was reading some stuff about the OSR, and came across the concept that spot checks and detect traps rolls aren't used in the OSR: instead, you identifying potential danger zones and have your character check them, and the GM tells you what you find. This article is about the more general case of this dichotomy: when is it appropriate to allow a player to describe their way to success, when is it appropriate to reduce it to a roll, and – in the absence of a roll – when to punish a player for neglecting to describe some particular action in the fiction. But yeah, I'll talk about traps a bit because it's a convenient example.
Caveat: I'm talking about games where you have Player Characters trying to overcome obstacles through skill or luck, and where those obstacles exist in the GM's head or in their prep i.e. not invented after a roll is made. I realise not all games are like this, but that's the scope of this article.
Matthew Finch's Quick Primer for Old School Gaming talks about a couple of examples which are relevant:
Some dudes are walking down a corridor. There's a pit trap ahead. Do you have them make a detect traps check (as you would in, say, 3e AD&D) or do you hit them with the trap unless they take an action which will allow them to detect it and disarm or avoid it? Supposedly the latter is the OSR approach. He describes how the dudes, having lost their ten foot pole, look for cracks in the ground and then detect the edge of the pit trap by pouring some water on the floor and looking where it collects. Then they just walk around the trap.
Some dudes enter a room. There's a moose head with a concealed compartment behind it. Do you have them make a detect secret doors check (as per AD&D 3e) or let them find it if and only if they investigate the moose head (OSR). In the example the dudes fiddle with the moose head and discover it slides to one side.
So, looking at "detecting hidden stuff" as a category of action, we can see that you can just skip over the business of describing how you find it and make a roll (perhaps the GM describes how you succeed or fail after the roll), or you can have the player describe in some detail what they actually do and judge what the effects of those actions might be.
We can go further, though: some hidden stuff will jump out and mess with you if you don't detect and deal with it, some hidden stuff is something nice you'll only get if you detect it. I think this is an important distinction. If the world is full of stuff that will hurt me unless I take the correct action, then this raises some questions:
What warning, if any, must the GM give me before the bad stuff happens? Is "there's a corridor" sufficient warning that there might be a pit trap?
How much detail do I need to go into in my description? In the example, simply touching the moose head seemed to be sufficient to get it to slide, but what if I can only open it if I tickle the moose under its right eyebrow? Do I need to describe all the weird combinations of action I might take to get to that?
Now, this brings us to GM philosophy. Think about Apocalypse World's "be a fan of the player characters". In a system where you're relying on detailed action description rather than "just make a detect hidden stuff roll", it would be a dick move to have a moose head that only opens if you tickle its right eyebrow. That's just too obscure. On the other hand, at the margin, it's a total guessing game whether the particular hiding method you've decided on is too obscure, too easy, or just that nice level of challenge.
I suspect the OSR answer to all this is "who cares". You're going to get hit by traps sometimes, and sometimes they will kill you, and sometimes it's because the GM put something in place that turned out to be a bit too obscure for you to pick up on it. Sometimes it will be because you were slopped and forgot to investigate the obvious moose head; sometimes it will be because you investigated the obvious moose head and it turned out to be a trap. But as someone not particularly signed up to OSR philosophy, the idea that my character's life or death hangs on the question of whether the GM's idea of fair warning and mine align, or whether the GM's warning of a reasonable level of description and mine align.
Let's think wider than hidden stuff. You may wish to base a category of action resolution on the players' detailed description if you want your game to be about describing that thing in detail. (Duh.) If you like the idea of describing turn after turn of agonisingly detailed trap searching, weighing up the risk of wandering monsters against the risk of arbitrary death at the hands of a concealed trap, then OSR D&D clones may be for you. Equally, if you want a game that is about complex political negotiations, you might not want to boil every interaction down to a roll – you want to ensure there's enough fictional positioning required that it feels like you're actually negotiating, not just rolling a bunch of dice. Conversely, DON'T do that if you want to avoid such detailed description. If you make the intricacies of character position a crucial factor in a fight, then every time there's a fight you'll get painstaking description of character position, obviously. If your game isn't about fighting, you probably don't want that.
If you are going to make a category of action resolution all about player description (with or without dice rolls) then you're also going to have to think about how to get everyone on the same page about that. Establish what a reasonable level of description is. Establish what fair warning is. This goes wider than traps: does my political negotiation description need to give the gist of what I'm saying, or the detail, and if the latter, do I also need to roleplay my impassioned, emotional argument, or just describe what I'm saying? If we're not on the same page about this, I'll be pissed off when you have my argument fail (or saddle me with a fat negative modifier to my roll) because you felt I wasn't impassioned enough. I'll be annoyed that you thought describing the quirk of your NPC's eyebrow is fair warning they're about to stab me in the face.
So this brings me back to the OSR. I read in the primer that OSR is about rulings, not rules. Fair enough; but one thing rules do is get everyone on the same page. Quite literally. If we all read the rules, we can have common understanding of how a given situation might play out, and even if we don't then at least we have a fair way to check the arbitrary power of the GM. If we don't have that, then that sense of fairness depends on the players and the GM being on the same page, metaphorically.
Anyway, what this has got me thinking is, there's a space for an OSR-style game that provides exceptionally clear explanation of the above factors: how much detail is it reasonable to expect, how much of a warning sign is it reasonable to expect. Providing some parameters to your rulings, without forcing you to conform to highly detailed rules. Maybe it already exists? Comments welcome.
Oi, rules, get out the way!
August 20, 2015 January 26, 2021 Josh Fox Leave a comment
A long time ago, in a blog post, Vincent Baker wrote about mechanics which are driven by the game fiction, and mechanics which aren't. He used some fancy diagrams to make the point, but I think it's not much more complicated than that. His point (or at least a point that he made) was that if your mechanics aren't, on some level, driven by the fiction, then you end up ignoring the fiction.
Why is this? I think it's reasonably straightforward. If the game's mechanics can manage quite well without the fiction, the fiction becomes an inconvenience. You can't have your hit roll until you've described your attack. You can't have your damage roll until you've described some gore. The description makes no difference to anything, and you may well not be that interested in detailed descriptions of combat. You want to skip to the stuff that actually matters, the hit roll and the damage roll. And so, with the best will in the world, it becomes tempting to skip over, you know, the actual roleplaying. And as your descriptions become more perfunctory, they seem ever more unnecessary, the colour drains from your combat (or investigation, or whatever mechanic it might be) in favour of lifeless dice rolling.
(Incidentally, I'm not talking about mechanics that model the fiction. Nice probability curves and mechanics broken down in a way that maps onto the fictional "reality" are not relevant here. I'm not against them. But what I'm talking about is mechanics that engage because of circumstances somebody narrated, and which are sensitive to the detail of that narration.)
Once I'd seen the phenomenon Baker describes, I could not unsee it. Everywhere I looked were designs which violated the "fiction first" principle, where a conscious effort is required to keep describing, at least when the game's mechanics are engaged. And, conversely, many an hour of dull die-rolling seemed explicable, even inevitable, given the rules of the games I had been playing.
To bring this back to the title, many roleplayers would prefer that the rules just "get out of the way". And I think Baker's analysis is highly relevant to understanding why. When your mechanics suck the colour out of your roleplaying in this way, every time you find yourself in a mechanics-free scene, everything will seem that much more vibrant. You have no choice but to describe, because the mechanics aren't there to pick things up; and the fiction no longer seems a burden, because it isn't getting in the way of your resolution system. In the absence of those mechanics, that resolution system will probably be GM fiat or collective agreement, probably based on what is plausible in the fiction, making description key.
Don't get me wrong, I'm not saying the entirety of mechanics-averse play is down to a lack of "fiction first" in the rules. A significant amount of it is down to clunky, cumbersome mechanics, cognitive load and tedious book-keeping, for example. But it is certainly a part of it. When the fictional situation drives the mechanics, when fictional logic is put at the centre of the rules, this problem falls away. And so, whenever I design a mechanic, I always look at it through this prism, watchful for anything that might tear the players away from the fiction.
The procedural vs dramatic balance
July 28, 2015 January 26, 2021 Josh Fox Leave a comment
I've been playing a lot of games recently which are focused on intense, dramatic relationships. The poster child for these is Hillfolk, but there's a whole bunch of others along similar lines (several in playtesting). What I've observed is, there's a crucial balance to be struck between intense, emotional, conversational scenes, and the procedural scenes which provide the energy for them. Hillfolk, it seems to me, undervalues the latter, with the result that its dramatic scenes[*] gradually wind down and end up meandering rather than roaring along. Other games overdo it in the other direction.
Why is this? Conversations have to be about something. Hillfolk sets up dramatic tension by asking everyone to begin with something they want from each other character, and a reason why they can't have it. But over time those tense relationships from become flaccid, either because the starting issue is resolved or because it becomes apparent that it isn't going to be resolved. Sooner or later there's nothing left to talk about.
To stop this happening you need to provide an external stimulus to tighten up those relationships and reintroduce tension. There are various things that can do this, such as:
– Discovery of information that had previously been secret (or at least, known by a more limited group)
– A decision taken that was previously untaken.
– Somebody does something, i.e. the execution of a decision.
– An external event happens which forces one of the above to happen, or creates pressure for it to happen.
Notice that the first two can naturally happen in the course of a dramatic scene, indeed a dramatic scene can focus on these things. The third could be either; I can take action with the primary aim of getting an emotional reaction from someone, or I can do it to achieve some external goal. The last won't naturally happen in any dramatic scene, though it might well be part of the setup for one.
Once again, eventually tense, dramatic relationships will wind down as all the secrets come to be revealed, all the important decisions are made and all the resulting actions have been taken. The only way this energy can be restored is if something happens that requires new decisions to be taken, that generates new secrets, that demands new action. Most importantly, something must happen that changes the way people feel about each other, or pushes them in directions which will cause them to feel differently about each other.
These external pressures are vital for keeping the drama going, which is why it's frustrating that Hillfolk downplays their importance. But at the same time, if there's too much external pressure then there's no space for the emotional and social reaction to be played out. Dramatic scenes are a sort of emotional and social processing of what has happened in procedural scenes, but that can only happen if there's a gap in the action in which that processing can happen.
So all this is a long-winded way of saying, in a game about relationships it's important to include some sort of external stimulus to keep things from winding down, but equally the action has to be paced to enable those relationships to be explored. You need to strike the right balance between the dramatic and the procedural. Get that balance wrong in either direction and you'll get less drama.
[*] I'm using Hillfolk's terminology here. A dramatic scene is one where someone is seeking an emotional response from someone else; a procedural scene is one where someone is trying to achieve something more practical, even if the means to this end is a social interaction.
Trindie, schmindie
I read Smiorgan's discussion of so-called trindie games (and the "trindie triangle") on Department V recently. I disagreed with a lot of it – in particular I see the essence of the three gaming spheres, and in particular the indie sphere, very differently from Smiorgan. But I'm not planning to critique his ideas, rather I want to set out some of my own.
Disclaimer: these are my thoughts about what makes a game trad, freeform or (in a much broader, vaguer way) indie, and therefore what could be a trindie game. Obviously, this is to a certain extent semantics – but I think it does identify a space that isn't fully explored yet, which may therefore be of interest.
A trad game will involve a GM who mostly makes the rules calls and who controls most of the game world and the characters in it; player characters who are the exclusive domain of the other players; mechanical procedures that relate to the actions of characters in the game and aimed at determining success or failure; and game time based on when something interesting is happening to one of the player characters, and skipping over the rest.
A freeform game will be played in real time. It will focus on a defined situation, which will usually be designed to minimise the need for rules calls i.e. characters who aren't likely to start fighting each other in-session, or using lots of powers, or whatever. It will have a rules system for adjudicating when people do enter conflict, which will usually be designed to minimise the need for a referee, but there will usually be some people who can serve that function if needed. Often times there is a downtime system for managing what people do between sessions, which is much more ref-moderated.
An indie game could look quite similar to either of these (AW is quite like a trad game in many respects; WTDiG is like a freeform game) or be completely unlike either of them (Fiasco, Microscope, forex). So what makes an Indie game (apart from the obvious question of whether it's independently published)? I think the answer is, no one thing, but there's a whole set of tools and techniques which you see in indie-style games that you don't see very often in trad or freeform games.
Diverse options for division of GM duties. Such as:
– Fiasco, has no GM (this seems to be the exemplar indie game by Smiorgan's metrics, and I suspect the one he was thinking of when he wrote his article). Everyone is responsible for working out how the scene should go. The final outcome of the scene is decided by selection from a limited pool of available positive and negative outcomes.
– Microscope, has no GM. For most of the game creative responsibilities are clearly delineated so that just one person has authority to decide at any given time, so it's sort of like having a rotating GM. Except! In scenes, the players roleplay in a fairly unstructured way to answer a question posed by the person whose turn it is.
– Apocalypse World, has a GM. But the GM doesn't have the power to dictate when the game's mechanics are brought into play. And, the GM is encouraged to ask questions, often quite sweeping questions, about the game world and situation, so that they no longer have full control over those.
– Dream Askew, has Situations which have owners, who effectively take on some aspects of the GM's role, in particular creating pressure on the player characters. Other aspects are handled through questions asked to others, like in Apocalypse World.
– When the Dark is Gone, hands over creative decision making to the players in its entirety. The GM-role is just a facilitator who asks questions.
Messing with the player character role, so that people may have more than one character. Such as:
– Durance, where everyone has two characters; one from the criminal side and one from the authority side.
– Lovecraftesque (and, I understand, Downfall), where everyone takes turns playing the main character.
– Rise and Fall, where you play an archetype, and may play several different exemplars of that archetype, one per scene, maybe coming back and playing the same one(s) more than once or maybe not.
Using mechanics to structure the story and drive its overall shape. Such as:
– Fiasco sets hard limits on the number of scenes and on how many of them can have a positive or negative outcome. After half the scenes are used up, there's a tilt; once they're all used up, there's an aftermath.
– Dog Eat Dog gives out tokens, and at the end of each scene the characters make judgements about the scene, which trigger a token exchange. The token exchanges drive the events of the game and ultimately determine when it ends and with what final outcome.
– My Life With Master is another game with a mechanical trigger for the endgame, based on the accumulation of points resulting from the outcomes of individual scenes.
– Witch: the Road to Lindisfarne frames the whole game around a journey, and has a required number of scenes and a theme at each location, with a fixed ending.
Now, I'd like to touch on the so-called "trindie" games such as Fate and Cortex Plus. What these particular games seem to do that is considered by some to be indie-ish is to allow players to create stuff outside their character – scene aspects in Fate, and mechanically similar assets in Cortex Plus. In effect, the player narrates a little chunk of what would, in a purely trad game, be narrated by the GM. But this is very limited! Players can only do this within fairly narrow limits, and the primary effect of doing so (and I suspect in many cases the primary motive for doing so) is to attain a temporary mechanical advantage in a conflict. In other words, aspects and their ilk are like temporary traits that a character can use, that just happen to sometimes concern a bit of the world outside their character. They're not so much about creative control as broadening the range of ways your character can be awesome. That doesn't seem particularly "trindie" to me – it seems like a trad game with a tiny bit of narrative control grafted on.
So what would a truly trindie game look like? Well, I don't see how you could keep the tr in trindie without keeping a pretty unified GM role and players who each play one character (maybe two). But there is a game which keeps all of that, while altering the trad formula in a number of ways: Apocalypse World. AW gives you background and plot that is mostly generated by the players through question-answering (but driven forward by the GM); mechanics that are triggered by fixed circumstances and with relatively fixed outcome options, reducing the role of GM judgement and constraining GM fiat; it encourages the GM to put things beyond their direct control using tools like countdown clocks. It even lets you play more than one player character, while remaining essentially a player rather than a GM.
I don't think AW has driven as far into this space as you can possibly go. But it suggests some thoughts about what aspects of a trad game you could retain while introducing elements of indie play. I would suggest the core of a trad game is a GM whose role is to represent adversity and drive forward external threats; and players whose roles are to fully inhabit the roles of a much smaller cast of characters. Within that model, you can divvy up a lot of creative power, you can introduce mechanics which put the structure of the story at least somewhat beyond GM control, and you can give the players something other than just a single unchanging character to play. I can't think of another game that has done this to the extent that AW has, but I'll be very happy to hear of one. Suggestions?
Stance and stancibility
December 5, 2014 January 26, 2021 Josh Fox Leave a comment
So, where was I? Oh, yeah: stance.
Le Forge has this to say about stance:
In Actor stance, a person determines a character's decisions and actions using only knowledge and perceptions that the character would have.
In Author stance, a person determines a character's decisions and actions based on the real person's priorities, then retroactively "motivates" the character to perform them. (Without that second, retroactive step, this is fairly called Pawn stance.)
In Director stance, a person determines aspects of the environment relative to the character in some fashion, entirely separately from the character's knowledge or ability to influence events. Therefore the player has not only determined the character's actions, but the context, timing, and spatial circumstances of those actions, or even features of the world separate from the characters.
So I was thinking to myself, actor and author stance are basically about playing a character, in the former case according to the character's motivations, and in the latter case according to your motivations as a player (retro-justified as needed).
Director stance appears to be about playing the environment. But wait: we can subdivide this further also.
Let's say that Regulator stance is playing the environment in accordance with the fictional logic of the environment. So, for example, you've just dived into the Niagara Rapids wearing naught but a polka-dot bikini and a baseball cap. In Regulator stance, I'm afraid you're toast. You are swept away. The last we see of you is a flash of polka, a flailing arm, then nothing.
Meanwhile, God stance is playing the environment in accordance with your own motivations. Ok, you aren't likely to survive a headlong dive into the Niagara Rapids, but I'd quite like it if instead of dying, you find yourself hanging by a delicately positioned tree branch, and just within sight of your arch-rival… what will he do now?
The same breakdown can be applied to less environmental questions. Say I want to know "will the inhabitants of Endor rise up against their invaders?" – I can resolve that by thinking about their motivations and the things we know about the situation, or I can do it according to what I think would be interesting, or what I'd like to see. Maybe that's Sociologist stance and Dictator stance, I dunno.
So there we go. Director stance isn't just a monolithic thing you can do, it means decisions justified in different ways, just like when you play a character. Maybe it would be simpler and clearer to divide the scope of decision-making in two. Actor stance when you're playing a character, Director stance when you're making wider decisions; Endogenous justification when you're going with fictional logic or character motivation, Exogenous when you're deciding for other reasons.
One last thing – in practice I almost never go into a pure Exogenous way of thinking. Basically if the fictional/in-character reasoning is overwhelming and obvious, I go with what that says. If it's, like, 90% pointing in one direction then I'll need a strong external reason to ignore that. If it's less clear-cut, I'll think more about what would be interesting, or just go with my whim. It's still helpful to be able to clearly talk about the decisions we're taking and the reasons for taking them, but it's fair to say that these aren't either/or.
Apocalypse World: Fronts
April 11, 2014 January 26, 2021 Josh Fox Leave a comment
I've recently started a new Apocalypse World campaign and re-reading got me thinking about the Fronts system. Apocalypse World Fronts are basically a set of linked threats that the MC writes down with countdown clocks and stakes questions as a means to (a) give him interesting things to say that aren't just improvised from scratch and (b) address one of the principles of AW which is "sometimes, disclaim decision making". Anyway, there's a prescribed format to them and what I'll do here is analyse that format.
The fundamental scarcity. Every Front has a fundamental scarcity chosen from a list of eight (hunger, thirst, envy, ambition, fear, ignorance, decay and despair). The AW rulebook has almost nothing to say about the purpose of this, and I surmise that it serves to provide inspiration and keep everything apocalypse themed, nothing more. I have found myself struggling to identify a single fundamental scarcity for a given Front, and even the book's example Front seems like it would fit with at least two fundamental scarcities. Maybe it could be handy to remind yourself what the Front is all about or to judge whether a new threat should be added to the Front, but mostly it feels a bit surplus to requirements once the Front has been written down.
Linked Threats. The whole point of having a Front is to add value to what a list of individual Threats would achieve. The example in the book doesn't help us here. We have this mud-fish parasite which is infecting everyone, the waders who carry it and some bunch of thugs who enforce quarantine. Those all seem highly linked and could be called "the mud fish parasite front". But then we have Dustwich, this person who wants to overthrow the hardholder. She seems unrelated, except insofar as the previous Threats will create pressure to overthrow the hardholder, aiding Dustwich. Anyway, my feeling is that Dustwich is a bit tacked-on, as though Vincent Baker felt that merely having the holding overrun by a parasite wasn't interesting enough (and perhaps too faceless).
Still, I guess if you start from a fundamental threat – the mud fish parasite in this case – and ask what other factors bear on this threat, either as obvious connected things like the waders, or things which push the other way like the quarantine enforcers, you've got something there. Asking yourself to generate linked Threats is an exercise in thinking about what else is implied by the existence of the core Threat.
The Dark Future. Every Front has a dark future which is what will happen if it is allowed to roll forward undisturbed. This is useful as a check for the MC – is this Front really threatening or have I created a situation the PCs can ignore? It could provide useful fodder for improvising, too.
Again, the example Front in the rulebook is unhelpful. In the example Front , the Dark Future is essentially "Dustwich takes over the hardholding"; the other threats in the Front are just things which serve to antagonise the people against the hardholder and over to Dustwich's side. I mentioned before that Dustwich felt tacked on, and indeed because the Dark Future relates to Dustwich, it feels as though there's no real relationship between it and most of the Front. If we imagine, though, that Dustwich were gone and the Dark Future were "everyone gets the mudfish parasite; lacking a healthy workforce, the holding grinds to a halt and one by one its members die or leave", now we have a Dark Future that relates to the elements in the Front.
So with that imaginary alternative example Front, we can see more clearly that the Dark Future serves an additional purpose, which is to keep the MC's mind on where the Front is going. Every time something happens the MC can ask – does this bring the Dark Future closer or set it back?
Countdown clocks. Countdown clocks are introduced as a thing relating to Fronts, but in actuality the book recommends they be attached to Threats. Regardless, they're probably quite closely oriented to the Dark Future (or should be – again, the example Front lets us down here). They serve to provide a concrete sense of the factors that build up to the Dark Future, pacing for that build-up, and a way for the MC to drive that build-up without it just being on a whim "Bam, the dark future happens because I decided". Having said that, what seems to me missing from the countdown clock concept is:
Triggers. This isn't in the Front rules, but I think it should be. The book says the countdown clocks are descriptive and prescriptive. Meaning, if I get to 9 o clock then the mudfish parasite eats my head, but equally if for some reason the mudfish parasite should eat my head then the clock automatically advances to 9 o clock. All well and good, and this serves to avoid the clock becoming divorced from reality. But we're still left with a clock that (absent the mudfish parasite eating my head of its own accord and thereby advancing the clock prematurely) ticks forward on the MC's whim.
Contrast the injury clock on every player's character sheet, and which ticks forward when you take harm, back when you are healed. There are rules for this; the MC can change it more or less on a whim but there is a logic that constrains him in doing so. So for me, the countdown clock needs triggers; every time the parasite infects a PC or a new group of NPCs, move the clock forward, for example. That way, aside from the obvious fictional trigger that if the events described in the clock happen of their own accord, you move the clock forward, there's a separate, more inexorable trigger that if nobody does anything the clock will tick forward, which is at least somewhat outside the MC's control. So you're disclaiming decision-making, like the principles say.
Custom moves. One of the things that makes AW popular is its customisability. Custom moves, yay! I'm not sure these are really specific to Fronts but it's obviously good to think about them when you're doing your Front prep. Having the Dark Future, the Threats, the Fundamental Scarcity and all the rest in mind when designing custom moves will serve to give everything coherence and relevance.
Stakes questions. These are little questions you write about the fate of particular individuals or groups in the game world, and which you commit to answer using the game fiction's internal logic. The book says they're real important but gives little guidance on how they fit in with the wider Fronts framework, or even what committing to not answering the questions yourself entails.
The example questions mostly relate directly but not straightforwardly to the Threats in the example Front. The first and most straightforward is "who will fall prey to the mud fish parasite?" – ok, so I'm committing not to choose who gets it, which seems pretty tough. If I choose to put a non-infected character in a room with an infected character I'm almost making the decision, aren't I? There will definitely be situations where I put two people on a collision course but let the PC's actions decide whether they actually collide, sure; but I don't really see how I as MC could avoid deciding some of who gets infected. Naturally I'll do it based on the game fiction's logic, but I would have done that anyway – the crucial question is, have I just fiated someone to infection or not? I think I'd have to if I used this example Front.
The other questions are less straightforward and more interesting for it. "Will Dustwich get a better life for her people?" This question tells me that even if Dustwich fails in taking over, there might be scope for a better life for her people. She won't get a better life for them unless she overthrows the hardholder or someone else intervenes to make life better, so I can see the benefit of the stakes question here. The question is saying: the answer is no unless something happens to make it yes.
Another is "will Grief's cover get blown?" – there's a specific trigger for that in a custom move, so it's very easy to see how the MC is disclaiming responsibility on that one. The final one: "Will Snug and Brimful stay married?" – great question, totally unclear how it will be resolved given that Snug and Brimful are throwaway names in the Front cast list. How does the MC commit to not deciding it? I honestly don't know.
What is the point of all these questions? I presume that apart from getting the MC into the mindset of disclaiming responsibility, it's to ensure the Front isn't just about the central Threat rolling forward supervillain-style to take over the PC's world, it's about the impact the Front has on real people. But honestly, I'm not sure what the point of them is or how they're supposed to work – as outlined above sometimes it's obvious, sometimes not at all obvious how the MC will keep his grubby mitts off the decision-making process.
Do we need them at all? The book says that Fronts are fundamentally conceptual, not mechanical. I think that's right; they serve a purpose of structuring the prep process and hopefully giving it coherence and direction without just making it into a one-way railroad.
So far my experience of this is limited to trying to write some Fronts for this game, and for the one that went before it. I haven't found the process all that intuitive or helpful. I'm mulling over whether to pull the whole thing apart. For example, could my stakes questions be completely separate from my Fronts? I identify some characters whose fates I care about and ask the most obvious questions I can think of about them. Whichever Fronts and Threats intersect with those fates (including the PCs of course) can answer the questions for me, so they don't need to be tied to a Front. Might it be better to ask what the fundamental scarcities are for the group as a whole, and just use them as an off-Front inspiration for generating new Threats and understanding the consequences of events in the game?
I guess the fact that I'm asking these questions suggests the elements of a Front have their uses, as outlined above, but I wish the AW book had devoted a bit more time to explaining how they were supposed to work and what the benefits of using them were.
Authorial boundaries
October 20, 2013 January 26, 2021 Josh Fox Leave a comment
Many story games widen the scope of authorship beyond traditional boundaries. In Apocalypse World, the MC can turn responsibility for decision-making over to the players, asking them questions in a reversal of the more usual approach. In Microscope there is a highly defined process through which everyone playing the game can author almost any element in the fiction. But it is quite common to take a far less structured approach, leaving everyone to invent everything as and when they feel like it, and often blurring the lines between In and Out of character speech.
So for example, in a game of Fiasco I could start a scene by having my wannabe gangster tell his cronies "The plan is to knock off the Royal Bank of Scotland on Spencer Street." Right there, I created a bank and a street – I didn't need to tell the group about it Out of Character in the way that a GM might, my IC speech made it so. (Someone might reply "but there is no bank on Spencer Street", which would confuse matters – improv actors would call this "blocking", which is not a good thing at all.)
But my experience has been that when things are left unstructured and informal, not everyone will have the same ideas about where authorial boundaries lie. For instance, say I'm playing a character named Fred, in a scene with one other character, Lucy, while the third player character, Alf, is absent from the scene. I say "it's such a shame about Alf's drug abuse, he really is going off the rails". Lucy might reply "yes, and that business with the prostitutes was unfortunate as well." Maybe Alf's player was expecting to play a rather puritanical, moral sort of guy. Now he has to decide whether to "block" these suggestions (which, because they were delivered In Character, means implying that Fred and Lucy are liars or mad or misinformed) or roll with it and change his character. Alf's player will probably roll with it, but may not feel too happy at having his character – not his character's situation, but the character himself – unilaterally and arbitarily changed from the character he had in mind.
Is this reasonable? There is no right answer. It comes down to violated expectations, something which is to be avoided. Story games thrive on the ability to introduce unexpected, unplanned fictional elements which each player can build on and riff off; but having a clear understanding of what we can and can't do is vital to enabling everyone to participate fully in the authorial jam session. Your regular group probably has built up just such an understanding, through a mix of formal discussion and informal convention, and you may not even realise it until a new player joins or you play with a different group.
Some games provide useful ways to register an objection to content you aren't happy with; Archipelago has its ritual phrases, Witch has "the alarm". That goes some way to helping, and is a necessary tool in my view, but can be quite jarring (and in my experience not everyone likes having their creativity shat on in this way, either). For my money nothing beats having expectations clarified up front.
So what are the boundary questions we need to answer?
– Who can create fictional elements like characters, locations, objects?
– Who can make changes and elaborations to existing fictional elements? Is it only the person who created them, or anyone?
– To what extent can we author retroactive events e.g. "cut to a hill outside the city, which is now a nuclear waste" without us seeing the nuke get fired.
– Are any fictional elements privileged in the way that Player Characters are in a traditional game? Are there any limits on authorship?
– Who can set scenes, and within what parameters?
– How are the above done? Can we author stuff in-scene, or during set-up?
– What do I do if I don't like what someone else authored? Do I have to roll with it, or can I challenge? How are disputes settled?
– Whose role is it to enforce the answers to the above questions?
In my experience a lot of games elide these questions, leaving it to you to decide. In turn, a lot of groups elide the decisions, leaving it to be settled through play – "let's just start playing and we'll work it out as we go". Maybe I'm just stuffy and over-formal, but I find it helpful to have these questions clear in advance.


Designer Trio Harrit - Sørensen - Samson designed were clearly inspired by nature´s very own snowdrop flower and came up with this fantastic interpretation for a lamp series.
This is an incredible display of how craftsmanship traditions can be transformed into a modern design expression.
The Snowdrop series includes 4 sizes a table lamp.


SCHENECTADY, NEW YORK, UNITED STATES, April 23rd, 2015 – Wind Works Power Corp. (OTC: WWPW -News) is pleased to announce that it has obtained permits for another 9 MW at its Burg project site that it co-develops with partners. Wind Works made down-payments for 3 Vestas V112 wind turbines that have a capacity of 9MW. All three turbines have been sold, one turbine was sold to the Swiss Institutional Fund that purchased Burg III, while the other two turbines were sold to private investors with Wind Works retaining a 49% ownership stake in one of them. The investment value is approximately $18 Million and start of construction is anticipated for summer this year.
Wind Works is also pleased to announce that the 3MW Burg III project using a Vestas V112 turbine has successfully started operations now. Wind Works has previously sold the project to the Swiss Institutional Fund and constructed Burg III "turnkey".
"We continue our success from Burg I and Burg II projects with the completion of Burg III and plan to expand the site by Burg IV now to an installed capacity of 23.5 MW by the end of the year. In addition, we expand our ownership stake in the project." comments Dr. Ingo Stuckmann, Wind Works' President and CEO.


Information technology evolves rapidly, more so than in most other industries. As innovative as this may be, it poses some challenges in the workplace when older systems built with outdated architectures and technologies require modernization, or are retired in favor of a new application that will likely meet the same fate several years down the line. The process of innovation is relentless. With older deployment models, so seems the cost of operating IT systems.
In the traditional client-server model, software resides "within" the entity that purchases it and runs there until the next innovation cycle comes along. IT operations units expend significant resources and time supporting systems, migrating data, integrating technologies, building reports, monitoring network performance and security, training users, and troubleshooting system errors and failures.
And so it goes. On-premise deployment is expensive, often complicated and requires customers to bear most of the responsibilities that follow the sale. Implementations bear the weight of multiple phases. What is the plan to roll out the new software in the local environment? A "go live" phase follows, wherein new users are gradually added until all is functioning and all that remains is ongoing operations. While this is understood to be "best practice," in reality it often doesn't go according to plan. Implementation and configuration can often distract the organization from providing the critical training and support that users need for smooth adoption of a new system. As we all know, this usually leads to user dissatisfaction and resistance. Ultimately, the organization is left questioning the value of the investment it has made.
Stepwell's SaaS model lets you pay as you go. Implementation is simplified to primarily loading data, testing, and training users. What does this mean for you? More time can be spent getting value from the software.
With Stepwell's Software as a Service model, we take on the responsibility of design, development, and maintenance so that you can save time, energy, money, and enjoy peace of mind.


• By enhancing the way federicografia's clients communicate with their clients.
to show better and profit more: Design!
* 2 decades of sound experience in the realm of visual communication's and marketing both in America and Europe.
sees Graphic Design contributing within communication in the Future "already here".
at the same time remaining consistent and coherent with the corporate values -and those from a demanding and unpredictable society.
as the framework for a new design scheme.
Hence, really articulating information with content. Interacting with the audience, in a proactive and more participatory process.
to more information, coping with a new communications arena, opening the channels for a real dialogue.
should be the necessary research and efforts focused on the sustainability of our planet.
in the reshaping process of a truly environmental awareness?
and pose it among their audience?
How will the audience react to this?
by Federico Garcia's holistic vision.


This Officially Licensed, Atlantean Sword, from the 1982 motion picture, Conan the Barbarian, has been masterfully replicated in every detail from the one seen on the silver screen.
The Atlantean Sword is 38-7/8? long with a 28-1/8″ blade and weighs 8 pounds. The blade has been hand-forged of 1085 high-carbon steel. As with all Windlass Steelcrafts¨ swords, this one is sold in the unsharpened state.


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Q: How to select rows based on specific & conditions of a range of columns in pandas Suppose, I have the following dataframe:
A B C D E F
1 1 1 0 0 0
0 0 0 0 0 0
1 1 0.9 1 0 0
0 0 0 0 -1.95 0
0 0 0 0 2.75 0
1 1 1 1 1 1

I want to select rows which have only zeros as well as ones (0 & 1) based on the columns C, D, E and F. For this example, the expected output is
 A B C D E F
 1 1 1 0 0 0

How can I do this with considering a range of columns in pandas?
Thanks in advance.

A: Let's try boolean indexing with loc to filter the rows:
c = ['C', 'D', 'E', 'F']
df.loc[df[c].isin([0, 1]).all(1) & df[c].eq(0).any(1) & df[c].eq(1).any(1)]

Result:
   A  B    C  D    E  F
0  1  1  1.0  0  0.0  0

A: Try apply and loc:
print(df.loc[df.apply(lambda x: sorted(x.drop_duplicates().tolist()) == [0, 1], axis=1)])

Output:
   A  B    C  D    E  F
0  1  1  1.0  0  0.0  0

redpajama_set_name: RedPajamaStackExchange


text:
Claire Alizon Hills
Evie Godfrey 02/09/2021
Trainee Board Member
Current role: Artistic Director, Topsy Turvy Theatre
Claire grew up in a tiny mining village near Wakefield, and now lives and works from her home in Castleford. Having gained a degree in Drama and Critical Criminology in 2003, Claire embarked on a career in the arts as a jobbing actor.
In 2010 Claire took the next step in her creative career and started children's theatre company; Topsy Turvy Theatre. Specialising in puppetry, energetic storytelling and fabulous waistcoats, Claire has written and directed seven nationally touring productions & performs in all the shows. She is also a freelance workshop facilitator and mentor for other arts organisations.
Outside of work, Claire can be found in her garden looking after her potted plants or working on an upcycling project.
Quirky fact: When she was 15, Claire came 2nd in the Medieval Combat World Championships in the sword & shield event, winning 1 of the 3 rounds against the World Number 2.

redpajama_set_name: RedPajamaCommonCrawl


text:
Моранн-сюр-Сарт () — колишній муніципалітет у Франції, у регіоні Пеї-де-ла-Луар, департамент Мен і Луара. Моранн-сюр-Сарт утворено 1 січня 2016 року шляхом злиття муніципалітетів Шеміре-сюр-Сарт i Моранн. Адміністративним центром муніципалітету є Моранн.

Історія

1 січня 2017 року Моранн-сюр-Сарт і Домре було об'єднано в новий муніципалітет Моранн-сюр-Сарт-Домре.

Див. також
 Список муніципалітетів департаменту Мен і Луара

Примітки

Колишні муніципалітети департаменту Мен і Луара

redpajama_set_name: RedPajamaWikipedia


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How does Microneedling work? Does it hurt?
We use the AquaGold fine touch, that has the proven ability to deliver the desired amount of biologic, just under the dermis, at a consistent depth, pain-free, and over a large surface area.
Treatment requires 30-45 minutes, depending upon which areas are treated and whether it is combined with other treatments.
Microneedling is a highly effective and minimally-invasive skin-rejuvenating treatment that harnesses the body's natural healing and anti-aging factors, and it is appropriate for most patients over 18 with moderately healthy skin and no active bacterial infections or acne. Other patients should speak with a dermatologist about whether Microneedling is best for them.
Visible reduction in scarring, sun damage, hyperpigmentation, stretch marks, fine lines, and wrinkles will reach maximum reduction in 4-6 months. The newly stimulated collagen will remain for several years, but no treatment can permanently "stop the clock." Regular maintenance will not only slow the aging process but also complement your efforts. In fact, best results occur after four or five consecutive treatments over several months.
What should I expect after Microneedling?
Patients may experience redness, dryness, and tingling following the procedures, depending upon number of treatment areas and whether this procedure was combined with another. Bruising and swelling may also occur for some patients. Patients can return to work, exercise, and other activities the next day.
Can Microneedling be combined with other treatments?
Microneedling can be combined with any liquid treatment on the surface of the skin, such as PRP Therapy and certain facials. This will maximize efforts to improve overall skin quality, including texture and complexion while rejuvenating its youthful appearance.
How is this different from an at-home or spa Microneedling or dermal roller treatment?
The needles available for spa and at-home use are less effective, shorter, and are often intended for multiple treatments (2x a week or more.) Medical Microneedling uses longer, fine needles allowing for more precise targeting of problem areas and effective treatment. Further, at-home and spa treatments use needles that could potentially scrape, scratch, or scar the skin. Medical-grade Microneedling is done at the precise angle to minimize any trauma while maximizing your skin's natural regenerative factor.


The U.S. Department of Energy's Richland Operations Office (RL) is striving to shave 35 years off of the schedule to cleanup radioactive and chemical wastes left by plutonium production work at the Hanford Site. Pacific Northwest National Laboratory (PNNL) is supporting the creation of an integrated baseline that shows the complex scientific, regulatory, and financial connections involved in Hanford cleanup, a key step in accelerating the cleanup schedule. This baseline was created and is being managed with the assistance of the Life-Cycle Model. PNNL's Life-Cycle Model is a database-driven, object-oriented computer model. It loads, links and displays the overall Hanford baseline, which includes 177 underground storage tanks, over 1800 facilities, and 1400 waste sites. The Life-Cycle Model can also provide detailed baselines for single areas, such as the waste tanks. "Accelerating cleanup of Hanford can only be accomplished through the careful alignment of baseline plans, contracts and the regulatory framework," said Michael Shay, project manager. "The Life-Cycle Model allows the user to see and explore these connections." The Life-Cycle Model does not simply provide a static image of the baseline. It is a flexible tool that can be used to conduct tradeoff analyses regarding the baseline. Currently, RL is using the Life-Cycle Model to study the costs and consequences of potential actions. The model is being used to answer such questions as about costs, savings, and regulatory deadlines. "The Life-Cycle Model is capable of consistently representing multiple cases, allowing for quick comparisons and faster turn-around times on optimization studies. And it does all of this while maintaining interconnections between and within projects," said Shay. This approach is faster and cheaper than previous methods of conducting tradeoff analyses. The old method involved asking contractors for detailed information on dozens of scenarios, sifting through the information, and then presenting only a few scenarios to DOE-Headquarters or other organizations. Now, RL can examine hundreds of scenarios using the Life-Cycle Model, determine the ones that show the most promise and request detailed plans from the contractors for the proposed change only, saving time and hundreds of thousands of dollars. RL is planning to conduct more tradeoff analyses using the Life-Cycle Model to clarify the impacts of alternative endpoints for cost, risk and land use.


Demographic changes have created an urgent need. The growth in the number and proportion of older adults is unprecedented in the history of the United States. Two factors—longer life spans and aging boomers (those born between 1946 and 1964)—will combine to double the population of Americans age 65 years or older during the next 25 years to about 72 million. By 2030, older adults will account for roughly 20% of the US population.


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Posts Tagged 'Business'
Why Family-Firm CEOs Underperform Professional CEOs
The topic of family businesses has long been of interest around here. Stephen Dubner wrote about it a few months ago, and our "Church of Scionology" podcast looked at the research on family firms. A new working paper (abstract; PDF) from Oriana Bandiera, Andrea Prat, and Raffaella Sadun explores how the behavior of family firm CEOs differs from that of professional CEOs, and why the former seem to perform worse. If you had to sum it up in one word: sloth. From the abstract:
Selling Off the Family Business
With the recent sale of The Washington Post to Jeff Bezos, the less-recent sale of the Wall Street Journal to Rupert Murdoch's News Corp., and the N.Y. Times's exuberant denial that it is for sale, one thing came to mind: family businesses.
Not an obvious common thread, perhaps. But I have long been interested in how family-run businesses succeed or fail — and in fact this week have just re-released an hour-long Freakonomics Radio podcast on the topic, "The Church of 'Scionology'" (subscribe here). It features stories on a pair of family beer businesses — Anheuser-Busch and Yuengling — as well as the strange tale of adult adoptions in Japan in the service of corporate stability (i.e., if your son or daughter isn't up for the job of running your company, then you can simply adopt your successor).
The Post and Journal were long-held family businesses, the Post by the Graham family and the Journal by the Bancrofts. The Times, in an ownership structure similar to the Post, is a public company whose voting shares are controlled by the Ochs-Sulzberger family, and Arthur Sulzberger, like his ancestors before him, is the publisher of the newspaper. I haven't worked at the Times for some time but the feeling then — and I am told that the feeling persists — is that the Sulzberger family has done an extraordinary job of protecting the editorial integrity of the newspaper, as might be expected of a family steward, but has been less competent than one might wish in shepherding its business interests. (This is all speculation, of course, as there is no counterfactual.)
Are Socially Responsible Businesses Bad for Society?
Writing for Foreign Policy, Daniel Altman argues against socially responsible business initiatives such as the recently launched "B Team." For-profit companies, explains Altman, often think long-term:
As Jonathan Berman and I have written in the past, for-profit companies that take a long time horizon in their decision-making are likely to make more social and environmental investments. Things like training workers, bolstering communities, and protecting ecosystems can take a long time to pay off for private companies. When they do, the return — including a stronger labor pool, a wealthier consumer base, fewer working days lost to strikes and protests, and greater employee loyalty — can be comparable to other for-profit investments.
In fact, strictly for-profit companies can be among the best social investors because they apply the same discipline to these investments that they would to other parts of their core business. Energy and mining companies, for example, have some of the longest time horizons in the private sector, and they tend to be big social investors as well. Some European companies have actually stopped issuing quarterly reports to shift the attention of analysts to the long-term. And because they are still targeting a single bottom line, profit, there's no loss of clarity about their mission or erosion of transparency for shareholders.
Why Family and Business Don't Mix (Ep. 130): A New Marketplace Podcast
Putting Microeconomics to Work
I've long been puzzled by the almost complete disconnect between real-world businesses and academic economics. After I graduated from college, I went to work as a management consultant. Almost nothing I learned as an economics major proved helpful to me in that job. Then, when I went back to get a Ph.D., I thought what I had learned in consulting would help me in economics. I was wrong about that as well!
Ever since, I've felt that both business and economics would benefit from a greater connection. Why don't businesses set prices the way economics textbooks say they should? Why are randomized experiments so rare in business? Why do economists write down models of how businesses behave without spending time watching how decisions are actually made at businesses? The list goes on and on.
The Cost of Friendship
Interesting if perhaps not so surprising: in a new working paper called "The Cost of Friendship," Paul Gompers, Vladimir Mukharlyamov, and Yuhai Xuan argue that even in as performance-based an industry as venture capital, people tend to collaborate with people who have similar backgrounds, often to their detriment:
This paper explores two broad questions on collaboration between individuals. First, we investigate what personal characteristics affect people's desire to work together. Second, given the influence of these personal characteristics, we analyze whether this attraction enhances or detracts from performance. Addressing these problems in the venture capital syndication setting, we show that venture capitalists exhibit strong detrimental homophily in their co-investment decisions. We find that individual venture capitalists choose to collaborate with other venture capitalists for both ability-based characteristics (e.g., whether both individuals in a dyad obtained a degree from a top university) and affinity-based characteristics (e.g., whether individuals in a pair share the same ethnic background, attended the same school, or worked for the same employer previously).
An Airline Buys an Oil Refinery; What Took Them So Long?
Fascinating article in today's Wall Street Journal, by Susan Carey and Angel Gonzelez: "Delta to Buy Refinery in Effort to Lower Jet-Fuel Costs." Coupled with the news of Microsoft bankrolling B&N's Nook business, the Delta deal shows how far and fast existing business models are shifting, and how vertical integration continues to not be dead.
Can Consultants Improve Small Firms?
A few months ago I ran a contest here at Freakonomics (results here) to predict the outcome of a randomized trial on charitable giving.
Although we are long way from realization (and it may be a pipe dream), the idea is simple: imagine a market on results from research studies. This could help not just hold people accountable for their ex-ante stated views, but also serve as a guiding tool for investors, practitioners, policymakers and donors, to help make decisions and allocate resources using the collective wisdom of markets. Of course this requires liquidity, and a certain faith in markets. Anyhow, until that dream comes true, we are doing this the simple way: running contests!
All Hail the Stand-Up Meeting!
I'm so pleased to see that stand-up meetings are gaining ground (or at least exposure, in the Wall Street Journal). I am on the record as someone who dislikes meetings in general; I also work much of the day standing up (at a great adjustable desk that Ikea unfortunately no longer makes).
As Rachel Silverman writes:
Stand-up meetings are part of a fast-moving tech culture in which sitting has become synonymous with sloth. The object is to eliminate long-winded confabs where participants pontificate, play Angry Birds on their cellphones or tune out. …
"Never Follow Your Dreams": Mark Cuban Answers Your Questions
Last week, we solicited your questions for Mark Cuban — serial entrepreneur, Dallas Mavericks owner, and blogger, who recently published an eBook called How to Win at the Sport of Business.
Here now are Cuban's answers. A lot of answers. Granted, most of them are short but Cuban can pack a lot into a terse words (unlike a few million politicians and businessfolk we know). He has some strong words on financial engineering and, if you read carefully, lots of good career advice. My hands-down favorite: "Never follow your dreams. Follow your effort."
Got a Question for Mark Cuban? Ask Away …
Mark Cuban is known for a lot of things: the well-timed sale of Broadcast.com to Yahoo!, which made him rich; his high-profile ownership of the Dallas Mavericks (and co-ownership of the media company 2929 Entertainment); his cameos on Entourage, and much more. (FWIW, Forbes pegs Cuban's net worth at $2.3 billion.)
Now Cuban has published an eBook, How to Win at the Sport of Business . It is compilation of greatest hits from Blog Maverick. Cuban did a Q&A on our blog a few years ago and is now back for more.
One Man's Story of a Very Unwilling Bank
A reader we'll call H., who's in the rental-property business, writes in with a bizarre story about his bank. Assuming it is at least 60% true from both sides (his side and the bank's), what are we to make of this?
My partner and I were looking to obtain a small business loan. Our banker told us that loans are very hard to obtain because banks are being very stringent. Not like we were going to shut down without a loan, but we figured it could help us grow the business. So, in an effort to build credit (and a good relationship) for our business with a major U.S. bank, my partner and I proposed to our banker that we would give him $50,000 cash to hold onto and in return, have the bank loan us $50k for 5 years. Basically we were securing the loan with cash as collateral. This way, we could prove to the bank that we are a responsible business and were hoping that after this first loan, the bank will be willing to lend to us in the future with more favorable terms.
The Italian Debacle and the "Church of 'Scionology'"
The takeaways from our "Church of 'Scionology'" radio program were as follows:
+ Economists have found that family firms that pass the company down to the next generation perform worse than if they had brought in professional management.
+ Family firms are particularly dominant in less-developed countries, which tend to have weaker markets and rule of law. Here's Vikas Mehrotra on that point:
In the developed world, you have good contracting environments, a good system of law enforcement, and so on. So, in the developed world, you can hire professional managers and expect a certain, you know, sticking to the contract law, and so on. It's rather more difficult to have the same kind of adherence to the rule of law in emerging economies. So, in emerging economies, family firms sort of provide a second-best solution to this poorly developed institutional problem.
What Percentage of Microfinance Loans Actually Go to Business Investment?
If someone with a clipboard came up to you in the street and asked you if you secretly harbor racist views, have stolen things in the past, had unprotected sex, or some other illicit behavior, how likely would you be to tell the truth?
Probably not very. This causes havoc for any researcher who wants to study behavior that may deviate from social norms in some way. A survey technique called "list randomization" allows researchers to calculate the average response to a question in a population, without being able to identify the response of any one individual. In theory this gives people the freedom to answer truthfully, knowing that even the interviewer won't be able to tell what they answered.
This method has indeed been used to measure hidden racism and sexism among American voters, as well as all sorts of bad behavior by American teens.
In a paper, forthcoming in the Journal of Development Economics, Jonathan Zinman and I apply this approach to the question of how the poor spend their microfinance loans.
The Virtues of Free Markets?
In our books, Dubner and I have argued that economic analysis (at least the way we try to do it) is neither moral nor immoral. We try to start with a question, obtain a set of facts, and then understand where those facts lead, trying not to be prejudiced one way or the other by moral considerations when coming to a conclusion.
Similarly, I've never really thought of markets as being moral or immoral.
Mark Zupan, the dean of the University of Rochester's William E. Simon School of Business, thinks differently. In a recent piece, Zupan makes an argument that most people will find counterintuitive: he claims that free markets foster integrity and cooperation. I'm not sure I fully agree with him, but the basic idea is sensible and straightforward. Markets lead to firms that survive for long periods of time. Reputations are important to firms, which leads them to behave in virtuous ways, not because they're inherently moral, but because virtue is good for business in the long run.
The Texas Tax Holiday: A Business Subsidy Even a Kid Can See Through
The 13-year-old grandson and his 11-year-old sister are discussing the Texas tax holiday—for one weekend in August there will be no sales tax on school-related items. The grandson says stores will cut prices to compete for customers. The granddaughter, already an inveterate shopper, says no: With the tax holiday there will be so many customers that the stores will be able raise prices.
While prices won't rise compared to the previous weekend, the granddaughter seems to understand that an inelastic demand means the incidence of (gain from) the tax cut will be on the sellers—the customers are unlikely to get much of a bargain. A subtle, Texas-style subsidy to business; but one that even an 11-year-old can see through!
Our Daily Bleg: Need Some Startup Strategy, Please
A reader named Patrick Nash needs your advice:
My friend and I have developed a cutting-edge technology for social media. There are other similar technologies out there for social media but we could never compete with their resources. Should we just point blank say we are the cheap alternative as a selling strategy? Sounds cheesy and flimsy but may be our only avenue.
What do you have to say to him? I don't expect a lot of you to have experience specific to his product, but I know there are a lot of starter-uppers among our readership (yes, both kinds of starter-uppers), as well as what you might call "psychology of pricing" pros. So let's see what kind of advice you have for Patrick.
Why Is Failure a Sign of a Healthy Economy? A Guest Post by Tim Harford
I've known Tim Harford for a while; to me, he's one of the best writers who also happens to be an economist (although in recent years he's spent more time as a writer than a practicing economist, which may explain everything). Disclosure: Harford profiled Steve Levitt back when Freakonomics came out, and he's had the two of us on his BBC radio show More or Less.
He writes a Financial Times column (on Saturdays) called "Undercover Economist," and that was the title of his first book, published in 2005 (and just updated). His latest book, out this week, is called Adapt: Why Success Always Starts with Failure. It examines the incremental, adaptive ways by which success is achieved across a number of fields. Here's a taste, in the form of a guest post. It's very good, and to my mind, here's the best passage:
[W]here's the churn in education policy or healthcare policy or policing? These are difficult problems. Why would we expect them to be solved the first time? They are surely no simpler than the business problems which seem so prone to experiment and error.
The 100 Rules for Being an Entrepreneur
This is a cross-post from James Altucher's blog Altucher Confidential. His previous appearances on the Freakonomics blog can be found here. If you Google "entrepreneur" you get a lot of mindless cliches like "Think Big!" For me, being an "entrepreneur" doesn't mean starting the next Facebook, or even starting any business at all. It means finding the challenges you have . . .
Memo to Syria
Readers of this blog may be surprised to learn that in 2005 I coauthored an article with Jonathan Macey which made explicit predictions about the future of democratization in Egypt. In 2005, Jonathan and I wrote: "We also posit that economic reform will bring increased pressure for democratization in countries such as Egypt and Syria. For this reason, economic reform of the kind we discuss in this Article (simplifying and reducing the costs of business formation) will be a good "leading indicator" of political leaders' real interest in implementing meaningful democratic reforms that go beyond mere public relations gimmicks."
The Entrepreneur's Brain
How do great entrepreneurs think? That's the question that Saras Sarasvathy set out to answer in a recent study.
The Economics of Book Covers
Marginal decisions to increase the net of revenue minus costs arise in non-profit organizations as much as in companies. The designers of a recent book, Peter Leeson's The Invisible Hook (Princeton University Press, 2009), recognized this in picking a cover.
Why Groupon Works
Google's recent reported $6 billion bid for Groupon — rebuffed, for now — took observers by surprise and worried the company's investors. James Surowiecki analyzes the deal and Groupon's business model.
When the Rolling Stones Hit the Laffer Curve
A recent interview with the Rolling Stones reveals some of their business and wealth-protection strategies. "The whole business thing is predicated a lot on the tax laws," said Keith Richards. "It's why we rehearse in Canada and not in the U.S. A lot of our astute moves have been basically keeping up with tax laws, where to go, where not to put it. Whether to sit on it or not. We left England because we'd be paying 98 cents on the dollar. [This may sound like an exaggeration, but likely isn't.] We left, and they lost out. No taxes at all. I don't want to screw anybody out of anything, least of all the governments that I work with. We put 30% in holding until we sort it out."
Slowing Down to Increase Profits?
In the face of economic pressures and customer complaints about coffee quality, Starbucks has revised its drink-making guidelines for baristas: "Starbucks baristas are being told to stop making multiple drinks at the same time and focus instead on no more than two drinks at a time-starting a second one while finishing the first," reports The Wall Street Journal.
Quotes Uncovered: Wisdom From Business Leaders
Continuing with my requests for famous quotations and sayings that might make it into the next edition of The Yale Book of Quotations, I'd like now to ask for memorable recent (or not-so-recent) words of wit or wisdom from business leaders.
Probably Not the Way to Run a Restaurant
I happened to be driving by an A&W restaurant the other day. I also happened to be thirsty. So I stopped in to order a frosty mug of root beer.
"We're out of root beer," the worker told me.
The determinants of one's demand for a product are covered in every introductory economics course. Independent of prices, my income and my general preferences, I also consider the cuteness of the product's name.
When a Changing Labor Market Changes Business
There are innumerable great examples of goods in related markets. And of complements and substitutes. (One of my favorites is the local store that sold rock music and condoms, clearly complements.) It's harder to cook up neat examples of goods markets that are impinged upon by labor-market changes.
Satellite of Profit
A Chicago company called Remote Sensing Metrics LLC has been using satellite images to track the number of cars in Wal-Mart parking lots, as a means of helping forecast earnings at the retail chain.


Significant local interest in our fine estate jewelry, especially our selection vintage and antique engagement rings, has encouraged us to open our doors to the public. We are thrilled to invite our local and visiting customers to our new showroom in Downtown Bellevue, WA. We are currently open by appointment only weekdays from 9:30am-6pm.
We encourage the use of our contact form to let us know the SKU# you would like to view in person as well as when you would like to come by. You can also create a wishlist and let us know the the name it is under when you call for an appointment, (206) 832-6850.
Expect an informal and very comfortable hands on personal viewing and shopping experience, very different from retail and mall jewelry stores.
We are conveniently located on NE 8th Street a few blocks east of I-405. Take the eastbound NE 8th St exit off the 405 and continue east for about 8 blocks. Continue through the the Bell-Red/120th cross-street intersection (Bartells and Shell on the corners), make a left turn into your driveway directly from NE 8th. Our entrance is on the Downhill/West side of the building in the lower floor. There is always plenty of parking.


text:
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Knight Voices
Prospect parent shares journey to America
By Amanda Stickels, online editor-in-chief
It was December in Chicago, as junior Christian Figueroa's father, José, stepped out of the plane in 1989. Snow was falling. Since he grew up in El Salvador, he had never seen snow before moving to America that winter.
Astonished, José took off his jacket and laid down in the snow. His sister, who had helped him move, thought he was crazy, but he laid there amazed at the new sensation.
"I couldn't feel any cold. I was so delighted to be there," José said. "It was amazing; I couldn't believe it; it was beautiful."
Growing up in a town outside of the capital of El Salvador, San Salvador, in the midst of a civil war, Jose says that life was not easy. It was an extremely violent atmosphere, and it was even common for him to hear bombs exploding in the distance.
He worked and attended the university in the capital, but sometimes it was too dangerous to commute home, so he would stay with his friend, who lived in the city, during the weekdays and then come home for the weekends.
Eventually, the war became so hectic, as the guerilla moved their focus toward urban areas versus the previous rural areas, that some companies started closing down. It didn't take too long for José's company to shut down. That is when he decided to move to America.
He first arrived in Florida on Dec. 14,1989 when he was 25 years old. He found a job there, but his sister, who had moved to America 10 years prior, convinced him to move to Chicago. Having arrived on Dec. 21, José's younger brother who also lived in America found him a dishwashing job for the holidays. From there, he had many jobs, including landscaper, baker, head cook, restaurant supervisor and location coordinator.
During this time, it was also difficult for him because he also had no background in English, so he had to learn on the fly, picking things up from listening to people and practicing at any chance he could get. Mostly, he remembers having an English-teaching book and locking himself in his room teaching himself English.
"I was practicing all the time even though I mispronounced many words, but that's what I did," José said. "I was not afraid to make mistakes. I did speak lousy, but I continued to practice. As of today, I may not speak the language like I wish I could speak, but I have to say one way or another, I made myself understand."
In October 2000, after getting laid off from a job with a Chicago cabinet company, José decided to get into the insurance business. He worked for an insurance company for nine years but when the economy dropped in 2009, the company had to liquidate his position. Left without a job, José decided to start his own business, an insurance company called Vista Insurance Agency in Rolling Meadows.
He says that this wasn't easy, but it was necessary to support his family, who themselves were supportive of him during this time. Working hard, José was able to build up his company.
"You know, little-by-little I picked up every single one of my clients, and the rest is history. We bought a few rental properties, and business is good. Life is good after that," José said.
Since the moment he got off the plane, one of the main themes of José's life has been hard work, and one of his main motivators, José says, is his family.
"When we decided to come to America for a better future, we always look for the future generation," José said. "My kids are the next generation. I had to make a difference for them to have success. I have to provide the path and be an example for them."
Christian, who is very thankful for his parents experiences and courage coming to America, is inspired by his parents' stories.
"It kind of gives me motivation and hope… When I think of the American dream, I think of them," Christian said. "[Their story] makes me strive to do better. Their story kind of means life to me, what life is. Life is trying to do better and do better than what others before you have done or just doing your best and being happy with it because they're happy now, and they're happy with what they've done, and they just want us to do better."
Hearing stories from his parents motivated Christian to learn more about his Hispanic heritage. From a young age he asked his parents to teach him to speak Spanish, which he believes has given him deeper connections to his roots and his extended family.
"It kind of preserves my culture because I have pride in my Latino self because I speak Spanish," Christian said. "Spanish is kind of what wraps hispanic culture all together and connects us all, so that connected me to other places."
Eventually becoming close to fluent by the eighth grade, Christian has been able to communicate better when his family takes trips to both El Salvador and Mexico.
José enjoys taking his kids to the country where he grew up, even showing them the house he grew up in and the schools he attended.
"My kids are Americans," José said. "They were born in America. They are Americans, so they grow up having everything. They have not missed anything. They had what any other American kid had. They did not grow up the way I grew up, so if I don't [show] them where I grew up, where I went to school and the house where I was born, they would not know where they are coming. And they would not appreciate the effort that I made when I came to this country."
Christian agrees that it is important for him and his siblings to see these places.
"It's a different experience because I stood in the room where he was born," Christian said. "You see someone who's older than you, and to think about them as a child and as a teenager is kind of weird. Some 50 odd years ago my dad was born here in this room, and it was a nice feeling but also interesting at the same time. It's a new experience, too. You think, 'What would my life be like growing up the way my father did?' You start asking questions and thinking about this alternative life that my dad experienced, and it's pretty much amazing to think about."
In retrospect, José is extremely thankful for his journey and his experiences that brought him to where he is right now.
"It has been a great journey," José said. "It has been a great adventure. I could not have done better. I think that if I had to do it again, I would do it about the same. I just think everything happened the way it was supposed to be. … I have to say I think I am one of the most luckiest people alive."
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