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Q: How to subclass UINavigationBar correctly also using appearance This is what I am trying to achieve:

NB: Also with a title to the controller.
Some additional information:-

*

*This navigation bar will appear on around 10 view controllers.

*It is not part of a Navigation Controller, as not required to be.

*The button on the left is static (will always be on the navigation bar).

*The right button is not static and will either not exist or be
different on the different View Controllers.

*The left button acts as a sliding menu (i.e. menu slides in underneath from left)

*I am using storyboard in the setup

Question
What is the correct way to achieve this?
Existing Code
I have tried to implement this, but I can only get one or the other of the buttons, without a title working. To implement the background I used the appearance API as below:
didFinishLaunching...
// Custom Navigation Bar appearance setup
[[UINavigationBar appearance] setTitleTextAttributes: [NSDictionary dictionaryWithObjectsAndKeys:
                                                       [UIColor colorWithRed:245.0/255.0 green:245.0/255.0 blue:245.0/255.0 alpha:1.0], UITextAttributeTextColor,
                                                       [UIColor colorWithRed:0.0 green:0.0 blue:0.0 alpha:0.5],UITextAttributeTextShadowColor,
                                                       [NSValue valueWithUIOffset:UIOffsetMake(0, 1)],
                                                       UITextAttributeTextShadowOffset,nil]];
// Used to deal with the rotation of the nav bar when implemented outside of Navigation Controller
[[UINavigationBar appearance] setAutoresizingMask:UIViewAutoresizingFlexibleWidth | UIViewAutoresizingFlexibleBottomMargin | UIViewAutoresizingFlexibleHeight];
[[UINavigationBar appearance] setContentMode:UIViewContentModeScaleAspectFit];

// Set the background image
UIImage *imageBg = [[UIImage imageNamed: @"mainNavBar"] resizableImageWithCapInsets:UIEdgeInsetsMake(0,5,0,5)];
[[UINavigationBar appearance] setBackgroundImage:imageBg forBarMetrics:UIBarMetricsDefault];

// Used to push the title down slightly when in Landscape and NavBar outside of Navigation Controller
[[UINavigationBar appearance] setTitleVerticalPositionAdjustment:2 forBarMetrics:UIBarMetricsLandscapePhone];

I then subclassed UINavigationBar for the left button creation with the following:
Subclass of UINavigationBar: awakeFromNib
UINavigationItem* ni = [[UINavigationItem alloc] init];
UIButton *leftButton = [[UIButton alloc] initWithFrame:CGRectMake(0, 0, 38.0f, 29.0f)];
[leftButton setImage:[UIImage imageNamed:@"menuBarItem"] forState:UIControlStateNormal];
[leftButton addTarget:nil action:@selector(menuItemPressed:) forControlEvents:UIControlEventTouchUpInside];
[leftButton setContentMode:UIViewContentModeScaleAspectFit];
[leftButton setAutoresizingMask:UIViewAutoresizingFlexibleHeight | UIViewAutoresizingFlexibleLeftMargin | UIViewAutoresizingFlexibleTopMargin];
UIBarButtonItem *b =[[UIBarButtonItem alloc] initWithCustomView:leftButton];
ni.leftBarButtonItem = b;
self.items = @[ni];

Then within the storyboard I add a NavigationBar to the VC in question and link to the correct subclass. I also add an additional button item to the navigation bar in the storyboard for that controller and link to an outlet. Then within the VC I try to update the title and right button with the below:
View Controller that holds the subclassed Nav Bar: viewDidLoad
// Set VC Title for NavBar
self.title  = NSLocalizedString(@"NavBarHomeTitle", @"Navigation Bar - Home page title");

// Setup the right navigation bar item
UIImage *addImage = [UIImage imageNamed:@"addGameButton"];
UIButton *addButton = [UIButton buttonWithType:UIButtonTypeCustom];
[addButton setFrame:CGRectMake(0, 0, addImage.size.width, addImage.size.height)];
[addButton setBackgroundImage:addImage forState:UIControlStateNormal];
[addButton addTarget:self action:@selector(addGameButtonPressed:) forControlEvents:UIControlEventTouchUpInside];
[self.rightBarButtonItem setCustomView:addButton];

The result is a navigation bar with only the left button. Now I believe this is due to the awakeFromNib code above alloc init a new UINavigationItem therefore I cannot control the title and add a button to it. How can I complete this? Is this the best approach or are there others I cannot see any in-depth tutorials on how to approach this.

A: Your better option is to use a navigation controller, it acts as the controller that interrogates the view controller it's currently displaying and updates the navigation bar.
Rather than subclass the navigation bar, you should subclass the navigation controller. Then whenever the displayed view controller changes you can set the left button item by adding it to the navigation item of that view controller. Each view controller can specify whatever right bar button item(s) it requires.
The simplest way to do this is for the navigation controller to act as its own delegate and implement navigationController:willShowViewController:. Using this method it can access the navigationItem of the passed view controller and set the leftBarButtonItem. You also have access to the other methods of the navigation and view controllers if required.
Each view controller would also, in viewDidLoad, set its self.navigationItem.rightBarButtonItem(s) to appropriate buttons for the requirements of its view. Such as your 'addGameButton' bar button.
Working this way, the appearance will work as you have it, the title of the view controller will work automatically and you have full control, and a number if methods in your navigation controller subclass, to perform your button and interaction customisations.


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text:
Getting banked
| The European | 11 January 2021
Although devastating, the Covid-19 pandemic is accelerating financial inclusion and the uptake of digital financial services, according to the International Finance Corporation
In February and March, just as Covid-19 was gaining a foothold in Africa, one of our IFC fintech investees reported a tripling in the use of mobile money in several countries on the continent. And many financial institutions reported accelerated uptake of digital channels. Case in point, our partner Co-operative Bank of Kenya, which has been on a digital transformation journey for the past five years, saw digital transactions jump in the first month of movement restrictions to account for 90% of all transactions, up from 70% before the pandemic.
As Charles Washika, Director of ICT and innovations at Co-operative Bank puts it: "Covid-19 really scaled up the adoption and use of digital technologies." For banks that hadn't embraced digitisation, Covid-19 has been a massive wake-up call to prioritise that investment.
The digital acceleration also happened at the public sector level. Many central banks in Africa took steps to support the use of digital financial services and utilised digital channels to deliver critical social services to help reduce physical contact. In Tunisia, leveraging the government's ongoing digitisation initiatives, we helped the government structure an immediate digital payments framework to deliver social grants to 400,000 people. In West Africa, the Central Bank of West African States reduced fees for digital transfers and eased restrictions to open mobile money wallets to encourage digital payments over personal contact.
The shift to digital was well underway in Africa even before the pandemic struck. Before Covid-19, Africa was home to more mobile money accounts than any other region in the world, boasting almost half of the more than one billion users worldwide.
The introduction of mobile money in Africa just over a decade ago catalysed financial inclusion by offering fast, affordable, and reliable access to transactions, savings, credit, and even insurance not only in big cities, but also in places where the nearest bank branch might be hundreds of miles away. Thanks in large part to the spread of mobile money accounts, 43% of sub-Saharan Africa was financially included as of 2017 up from 24% in 2011, according to the latest Findex data. In Kenya, Tanzania, and the Democratic Republic of Congo, the financial inclusion rate more than doubled between 2011 and 2017.
Today, as Africa works to contain Covid-19, as well as strengthen and rebuild those parts of its economies that have been battered by it, the digital economy – including digital financial services – has become more essential than ever.
The importance of digital services
Greater access to formal financial services for people in emerging markets has been shown to underpin and drive real sector development. An IFC study in Uganda found that 63% of the most active mobile money users in the country were small-scale entrepreneurs, and that 42% of them used digital financial services for business transactions.
We've also found that access to mobile money services can increase daily per capita household consumption and has helped women rise from subsistence farming to business occupations and sustainable livelihoods.
Social mobility is taking place through our work with partners in Côte d'Ivoire and Burkina Faso, where we are helping small-scale cocoa and cotton farmers adopt digital payments and shift away from cash-based value chains. Besides that, we recently announced a partnership with OCP Africa, a subsidiary of phosphate producer OCP Group, to accelerate the digitisation of payment systems in the value chains for rice in Côte d'Ivoire and millet in Senegal, along with the development of a rating tool to improve access to finance for farmers.
And in Mozambique, we have seen how Vodafone M-Pesa has helped reach more people than the combined share of the country's two largest banks. Person-to-person transactions using the M-Pesa network have been particularly popular, and Vodafone M-Pesa says many of these are happening between businesses operating in the informal sector.
Amid Covid-19, the use of the M-Pesa platform increased even more. In Mozambique, like many other countries in Africa, the government enacted price floors during the first months of the Covid-19 pandemic to lower the cost of mobile money transfers.
"The past six months have been about adopting a new normal and use of digital financial services is a big part of that. We think and hope that the habit is here to stay," Gulamo Nabi, Vodafone M-Pesa's Managing Director in Mozambique, told us.
Mobile money has kick-started digital transformation in Africa, helping to connect more people to basic financial services. The next step is to help digitise supply chains and diversify the digital financial service offering. And more needs to be done to build the ecosystem in rural areas that will facilitate the use and need for digital financial services.
It will mean supporting regulations and initiatives that enable innovation and partnerships in and across value chains as well as making sure the physical infrastructure is in place to allow people to access the Internet and digital platforms.
By building on the momentum and expanding access to digital services, we will see new partnerships form to bring further depth to financial inclusion that helps us bank the unbanked.
www.ifc.org
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redpajama_set_name: RedPajamaCommonCrawl


Well who doesn't enjoy a good celebration? Today YellowM had twice the reason to celebrate as Kim turned 11 yesterday & Tima turned 8 Today so we had a double celebration with our friends in the green class! Happy Birthday guys ??
St. Paul's School were delighted to receive €750 from Rosie Keating, Merck Millipore whose colleagues who took part in the Cork BHAA 5K Run which took place earlier this year. Their efforts for St. Paul's School are truly appreciated.


text:
Měrotín (deutsch Mirotein, auch Měrotein) ist eine Gemeinde in Tschechien. Sie liegt fünf Kilometer westlich von Litovel und gehört zum Okres Olomouc.

Geographie
Měrotín erstreckt sich im Norden des Drahaner Berglandes quer durch das Tal des Baches Měrotínský potok. Westlich des Dorfes liegt das Tal des Baches Hradečka. Im Norden erhebt sich der Třesín (345 m), südöstlich die Parduska (379 m) und im Südwesten die Šumina (417 m). Einen Kilometer nördlich endet die stillgelegte Bahnstrecke Litovel – Mladeč.

Nachbarorte sind Měník und U Robinsona im Norden, Mladeč im Nordosten, Sobáčov, Nasobůrky und Chudobín im Osten, Haňovice, Kluzov und Nová Ves im Südosten, Na Pile, Na Pindě und Loučka im Süden, Savín, Slavětín und Kovářov im Südwesten, Hradečná im Westen sowie Pateřín und Bílá Lhota im Nordwesten.

Geschichte
Die erste schriftliche Erwähnung von Miroteyn erfolgte 1365 als Besitz der Vladiken von Dubčany. Ab 1406 wurde der Ort als Myrotyn und ab 1437 als Mirotín bezeichnet. Der erste Nachweis über die Pfarrkirche erfolgte 1481 als Medvídek und Zbyněk von Dubčany das Kirchpatronat innehatten. Der Sprengel reichte zu dieser Zeit bis Hvozdečko. Im Jahre 1535 erwarben die Herren von Zástřizl das Gut und schlossen es an die Herrschaft Haňovice an. Zu den Besitzern gehörten u. a. Jan Proček von Zástřizl und ab 1585 dessen Sohn Bernard Prakšický von Zástřizl, ein eifriger Utraquist und Anhänger des Brüdercalvinismus. Er setzte in Měrotín einen nichtkatholischen Pfarrer ein. Nach der Schlacht am Weißen Berg wurde sein Besitz konfisziert und die Herrschaft Haňovice 1622 dem Olmützer Domkapitel übereignet. Die Pfarre erlosch 1625 und der Ort wurde nach Cholina eingepfarrt. 1656 wurde in Měrotín eine Kaplanei der Pfarre Loštice eingerichtet. Weitere Namensformen waren Miročín (1492), Merotinki (1594), Meretinki (1596), Maretinke (1601), Marotinke, Marotzinka (1604), Merotinke (1606), Mierotin (1676), Mirotinka (ab 1716), Mirotein, Mierotein (ab 1718), Mirotinka (1771) und Měrotín (ab 1839). Im Juni 1772 richtete das Olmützer Metropolitankapitel in Měrotín wieder eine Pfarre ein, zu deren Sprengel die Dörfer Hradečná, Slavětín, Savín, Mladeč, Měník, Pateřín, Nová Ves, Kovářov und Střemeníčko gehörten. Nachdem im Zuge des Josephinischen Reformen in Bílá Lhota eine neue Pfarrkirche eingerichtet worden war, wurden Pateřín und Měník 1786 zu deren Sprengel zugeordnet. Zugleich wurde Nová Ves der Pfarrkirche Chudobín zugewiesen, der Kirchzehnt floss aber weiterhin nach Měrotín. Bis zur Mitte des 19. Jahrhunderts gehörte Měrotín immer zu den Olmützer Kapitulargütern.

Nach der Aufhebung der Patrimonialherrschaften bildete Měrotín/Mirotein ab 1850 eine Gemeinde in der Bezirkshauptmannschaft Littau. 1867 wurde Střemeníčko nach Bouzov umgepfarrt. Ab 1893 wurde das Dorf im Deutschen als Měrotein bezeichnet. 1913 wurde nördlich des Dorfes der Kalkbruch Skalka aufgenommen. Im Jahre 1914 nahm die Lokalbahn Littau–Groß Senitz die Nebenstrecke Litovel – Mladeč auf, die die Lautscher Kalkbrüche an das Eisenbahnnetz anschloss. Nach der Auflösung des Okres Litovel kam die Gemeinde 1961 zum Okres Olomouc, zugleich wurde Měrotín nach Mladeč eingemeindet. 1990 löste sich Měrotín los und bildete wieder eine eigene Gemeinde. Der Kalkbruch wird heute vom Unternehmen Vápenka Vitoul s.r.o., Mladeč betrieben.

Měrotín ist katholischer Pfarrort für Hradečná, Kovářov, Mladeč, Savín und Slavětín.

Gemeindegliederung
Für die Gemeinde Měrotín sind keine Ortsteile ausgewiesen.

Sehenswürdigkeiten
 Pfarrkirche des hl. Martin von Tours, am westlichen Ortsende, der Renaissancebau entstand 1618–1619 auf den Mauern eines gotischen Vorgängerbaus
 Barockes Pfarrhaus, erbaut 1772
 Kapelle der Jungfrau Maria aus dem Jahre 1843, im östlichen Teil des Dorfes
 Marienstatue, auf dem Dorfanger vor der Kapelle
 Hügel Parduska, Aussichtspunkt über die Obermährische Senke (Hornomoravský úval) zum Altvatergebirge
 Bildstock auf der Parduska
 Naturdenkmal Geologické varhany – Brodka, nördlich des Dorfes beim Kalkbruch

Einzelnachweise

Weblinks
 Präsentation auf den Internetseiten der Mikroregion Litovelsko (tschechisch)
Geschichte der Pfarre Měrotín (tschechisch)

redpajama_set_name: RedPajamaWikipedia


UEFA on Thursday fined Russian club FC Zenit St. Petersburg 60,000 Swiss francs (36,880 euros) after its Control and Disciplinary Body ruled some of the club's fans had racially abused players from French side Marseille in last season's UEFA Cup clash.
The pair met in the last-16 and in the second-leg match in Russia on March 12 some home fans racially abused the visitors.
Marseille's Ronald Zubar told French radio after the game that "they threw a banana at us and made monkey noises" while he and black squadmates Charles Kabore and Andre Ayew were warming up.


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Children of the Sun > Movies & Entertainment
Basically, Peter Jackson is saying that he's not doing The Hobbit because Hollywood is greedy.
--- Quote from: Peter Jackson ---Dear One Ringers,
As you know, there's been a lot of speculation about The Hobbit. We are often asked about when or if this film will ever be made. We have always responded that we would be very interested in making the film - if it were offered to us to make.
You may also be aware that Wingnut Films has bought a lawsuit against New Line, which resulted from an audit we undertook on part of the income of The Fellowship of the Ring. Our attitude with the lawsuit has always been that since it's largely based on differences of opinion about certain accounting practices, we would like an independent body - whether it be a judge, a jury, or a mediator, to look at the issues and make an unbiased ruling. We are happy to accept whatever that ruling is. In our minds, it's not much more complex than that and that's exactly why film contracts include right-to-audit clauses.
However, we have always said that we do not want to discuss The Hobbit with New Line until the lawsuit over New Line's accounting practices is resolved. This is simple common sense - you cannot be in a relationship with a film studio, making a complex, expensive movie and dealing with all the pressures and responsibilities that come with the job, while an unresolved lawsuit exists.
We have also said that we do not want to tie settlement of the lawsuit to making a film of The Hobbit. In other words, we would have to agree to make The Hobbit as a condition of New Line settling our lawsuit. In our minds this is not the right reason to make a film and if a film of The Hobbit went ahead on this basis, it would be doomed. Deciding to make a movie should come from the heart - it's not a matter of business convenience. When you agree to make a film, you're taking on a massive commitment and you need to be driven by an absolute passion to want to get the story on screen. It's that passion, and passion alone, that gives the movie its imagination and heart. To us it is not a cold-blooded business decision.
A couple of months ago there was a flurry of Hobbit news in the media. MGM, who own a portion of the film rights in The Hobbit, publicly stated they wanted to make the film with us. It was a little weird at the time because nobody from New Line had ever spoken to us about making a film of The Hobbit and the media had some fun with that. Within a week or two of those stories, our Manager Ken Kamins got a call from the co-president of New Line Cinema, Michael Lynne, who in essence told Ken that the way to settle the lawsuit was to get a commitment from us to make the Hobbit, because "that's how these things are done". Michael Lynne said we would stand to make much more money if we tied the lawsuit and the movie deal together and this may well be true, but it's still the worst reason in the world to agree to make a film.
Several years ago, Mark Ordesky told us that New Line have rights to make not just The Hobbit but a second "LOTR prequel", covering the events leading up to those depicted in LOTR. Since then, we've always assumed that we would be asked to make The Hobbit and possibly this second film, back to back, as we did the original movies. We assumed that our lawsuit with the studio would come to a natural conclusion and we would then be free to discuss our ideas with the studio, get excited and jump on board. We've assumed that we would possibly get started on development and design next year, whilst filming The Lovely Bones. We even had a meeting planned with MGM executives to talk through our schedule.
However last week, Mark Ordesky called Ken and told him that New Line would no longer be requiring our services on the Hobbit and the LOTR 'prequel'. This was a courtesy call to let us know that the studio was now actively looking to hire another filmmaker for both projects.
Ordesky said that New Line has a limited time option on the film rights they have obtained from Saul Zaentz (this has never been conveyed to us before), and because we won't discuss making the movies until the lawsuit is resolved, the studio is going to have to hire another director.
Given that New Line are committed to this course of action, we felt at the very least, we owed you, the fans, a straightforward account of events as they have unfolded for us.
We have always had the greatest support from The Ringers and we are very sorry our involvement with The Hobbit has been ended in this way. Our journey into Tolkien's world started with a phone call from Ken Kamins to Harvey Weinstein in Nov 1995 and ended with a phone call from Mark Ordesky to Ken in Nov 2006. It has been a great 11 years.
This outcome is not what we anticipated or wanted, but neither do we see any positive value in bitterness and rancor. We now have no choice but to let the idea of a film of The Hobbit go and move forward with other projects.
We send our very best wishes to whomever has the privilege of making The Hobbit and look forward to seeing the film on the big screen.
Warmest regards to you all, and thanks for your incredible support over the years.
We got to go there - but not back again ...
Peter Jackson and Fran Walsh
Xoanon here, this is a big blow to the LOTR community. I feel like there has been a death in the family...there are a LOT of questions that will remain unanswered for the time being. Why couldn't New Line come to an agreement with PJ? Is there really a time option on the film rights for New Line? Who will they get to direct? Those are some massive shoes to fill if you ask me. I hope that whoever they get to direct will not try something 'new' with the look and feel of PJ's Middle-earth...and what is this LOTR 'prequel' project?
There have been rumors about The Hobbit being split into two films, will this prequel project then become the third film in another trilogy? Who knows...
I'm sure Peter and Fran aren't going to want to talk more about this, but that doesn't mean we won't be begging for a sitdown and chat! Stay tuned for more...
Oh, thank god!
See? I told you people in the King Kong thread -- PJ is holding on to his values so far.
So, now it WILL happen, only not with New Line.
Explain to me again why I'm trying to break into this business?
--- Quote from: IMDb ---As Lord of the Rings fans mounted a protest following word that New Line had dropped Peter Jackson from consideration as director of The Hobbit and another Lord of the Rings prequel, producer Saul Zaentz has given assurances that Jackson will indeed direct the two films. A German website, Elbenwald.de, posted an interview with Zaentz, who acquired the rights to the works of the late Rings writer, J.R.R. Tolkien, in 1976 (the Saul Zaentz Company owns Tolkien Enterprises), in which Zaentz says, "It will definitely be shot by Peter Jackson. ... Next year The Hobbit rights will fall back to my company. I suppose that Peter will wait because he knows that he will make the best deal with us. And he is fed up with the studios: to get his profit share on the Rings trilogy he had to sue New Line. With us, in contrast, he knows that he will be paid fairly and artistically supported without reservation." (The preceding quotation is a translation that appeared on TheHobbit-Movie.com from the German interview posted on Elbenwald.de.)
See? I told you people -- he's lost sight of his values.


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Last reviewed and updated on 21 Nov, 2019 NPI 1


text:
MSRTC starts special service for religious place
Published on : 06 Jan, 2021 , 7:23 am
Nashik: The Nashik division of the Maharashtra State Road Transport Corporation (MSRTC) has started a special bus service for the devotees to visit religious place.
A special bus has also been announced and Shivshahi bus will be provided on this route for the convenience of the passengers. The ST Corporation has appealed to the tourists to take advantage of this special bus.
The ST Corporation has started Bhadra Maruti Darshan special bus service for those who are interested in religious tourism. The bus will leave from the Thakkar's Bazaar every Saturday. In this tour the bus will visit at Khultabad, Ellora and Ghrishneshwar temple.
The bus will leave at 7 am on Saturday. After this the bus will return to Nashik again.A fare of Rs 795 has been fixed for this special bus journey and for senior citizens it will be Rs 400. An additional charge of Rs 10 for reservation has been fixed.
The code NSK CBS TO NSK CBS VIA KUTB can be used to make reservations in the computer reservation system. The ST Corporation has appealed to the tourists to take advantage of this special bus.
ST corporation
Maharashtra State Road Transport Corporation
special bus service


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Q: "Объекты скролятся атомарно" Доброго времени суток!
В проекте есть поиск по объектам. Объекты идут таблицей ниже поискового поля.
При скроллинге строка таблицы с объектом должа скрываться полностью, а не частично.
Есть ли у вас опыт реализации.
По ссылке скрин с мокапа >> fr35303.tw1.ru/a.jpg
A: Мое мнение: Ищите обработчик на JS, встречал на днях, но к сожалению найти так и не смог:
- Если "скролл случился" -> скрольте div на Npx(высота одного объекта)

P.S. вот пример, правда немного "глючащий" но база отличная ТУТ

redpajama_set_name: RedPajamaStackExchange


text:
Indie Game Design (Moderator: Ron Edwards)
[Capes] Losing with Style
Author Topic: [Capes] Losing with Style (Read 12817 times)
TonyLB
The newest version of Capes, Superhero Storytelling, is online. The new system is substantially simpler than the version it replaces... lots of rules that seemed to have a reason for existing when I wrote them had gotten to be extraneous, and have been clipped.
Now the system represents the balance of a conflict (combat or otherwise) with a set of Complications. Opposing sides roll dice, and get to add points to their own particular tally on a Complication. Whoever has the most points at the moment controls that Complication, for now.
There's some fun complexity about when a Complication Resolves, but that's not what I'm going to talk about here today. Instead, say you have a Bystander Complication which has 10 points Villain Control and 7 points Hero Control. The villains have control, so they define the Situation. They say an orphanage is burning down.
It's fairly clear what happens if a Hero spends four points in this Complication. He gains control of the Complication and can define a new situation regarding it. For instance, he can break a hole in the side of the building and start shepherding orphans out to safety.
Now what should happen if a hero spends just two points? They have not gained control of the Complication (Villains: 10, Heroes: 9). They do not get to define a new situation. But neither (IMHO) should their efforts just be ignored. What sort of suggestions and constraints should I give the players for how to narrate something that brings them closer to control, but does not actually accomplish control?
p.s. For those following particular rules questions from previous threads... I sidestepped the difficulties in defining what Issues are, with regard to Complications, by the simple expedient of making Issues a player goal, rather than a static object of the mechanics: They exist inasmuch as the players are thinking "I only need another two-point Stake in Duty to fill out the set that will make an Issue in that Drive".
Just published: Capes
New Project: Misery Bubblegum
statisticaltomfoolery
Re: [Capes] Losing with Style
Quote from: TonyLB
I think that not many constraints are necessary here. If the player puts those two points in, and wants to break open the side of the building and start leading orphans out, let him. If the Editor then resolves the complication before the hero can take it over, then the natural resolution is that the building collapses before you got all of them out.
Since resolving a complication is also an action, it's easy to not only use impersonal forces, but the actual villains and heroes getting involved. The villain focuses his laser beam eyes on the building's foundation, it collapses, and orphans are crushed.
Really, the only guideline needed is that the inhibit/assist mechanism stays coherent: if Smoggy is bound by the electrical cables, and the editor doesn't take control back of the complication, but narrates ripping off the cables, there's got to be something else that keeps that -1 penalty on. Maybe Smoggy gets electrocuted really bad as he's ripping them off, which causes him to act dazed for a while, and so on.
The Smoggy/Electrical-Cable example is a nice one. I agree that the person applying the Wonder could be given narration rights to change the Situation that was established by their enemy, so long as somebody also gets Narration Rights to impose a new Situation that applies a similar penalty.
But I'm not sure I agree that those narration rights naturally belong with the person who creates the Wonder. Yes, they are the ones who made the Wonder, but they are not the ones that control the Complication.
In terms of game mechanics it doesn't make any difference. But the color that attaches to the game mechanics is pretty vital.
For instance, suppose that Smoggy breaks out of the Electrical Cables, but doesn't quite control the Complication. Now the Editor changes the Situation by saying "The flying electrical cables tear apart two nearby buildings... the falling bodies of innocent bystanders are obscuring Smogzillas vision, which accounts for the continued penalty."
This has pretty clearly violated an unspoken understanding about what restraints should be placed on the narration. I just want to figure out a way to make that understanding not be "unspoken" anymore.
Hmm. So, thinking about this more carefully, there are three levels here:
<veil-of-smoke target="Ron Edwards">
1) Stakes: there are orphans trapped in a dangerous building
2) Consequences: Currently, they are likely to all be burnt to death.
3) Trappings: But Silverstar is working on routing a water pipe to put the fire out.
</veil-of-smoke>
It seems that #3 should be changable by any expenditure onto the complication, #2 can only be altered by the person in control, and #1 can't be altered much without changing or removing the complication.
Obviously, there are some grey areas between the different levels, but this seems like a pretty good split.
LordSmerf
I have been reading the newest version of the rules... Prepare yourself:
1. Everything looks good until Complications. You state:
Quote from: Capes Rules
A given Scene will never have more Complications than it starts with: the only way to add a new Complication is by Resolving an old one.
But it is not clear how you determine the starting set of Complications, there is no hint that such an explaination will show up later in the text either. Note: I think that this is all pretty cool, but i also liked the way things worked before... :)
2. I still think that you should specifically note that not only does the game not distinguish between beating someone up and talking to them, it does not distinguish between throwing someone through a wall or being thrown through the wall yourself. A good place to note this would be:
Note particularly that the rules don't distinguish between, for instance, punching a minion and talking to him about the immorality of his actions. The end result of one may be an unconscious minion, the end result of the other a reformed man, but mechanically both of them remove the minion as an obstacle. They're handled in exactly the same way, so you can feel free to do what makes sense to you at the time.
3. I thought the old dice system was very cool. Without having played the new one i can not really say whether i like it any less though...
4. Having all Complications automatically begin Resolving once you reach the scene target is a very elegant solution.
5. The Level 3 Wonder: Strength Through Adversity is mechanically dangerous. Using it does not correct the Net Wonder Penalty, thus it could be used each and every round (perhaps even more than once) so that you simply win because you have so many dice.
6. Issues. Elegant solution to the discussion, and a nice Advancement system as well. My nit-pick here is that the costs of Advancement spiral rapidly. It takes 3 points to go from 1 to 2, 10 points from 2 to 3, 21 points from 3 to 4, 34 points from 4 to 5, etc... This is not necessarily bad, and without actual play there is no way to know how long this might take, but these are some big numbers... One alternative suggestion would be to pay as you are (one of each level up to...) with the target being the value you are getting rather than twice the value you are currently at...
7. Scene Length calculations. Very, very cool. This is really great. I especially like preemptive staking of Hope generating longer scenes. My only major problem is that each point Staked here increase the scene length by 2. In your example you have a 24 point Target for a scene involving two characters. That seems to be way too high, of course without playing this i am just expressing my "gut reaction" here...
8. I believe that providing some sort of token bonus during the LetCol section is really a good idea. Maybe a 1 point Inspiration for being voted best question or best answer... Give people something, but not so much that it really effects the balance of the game. Provide a reward though, that is good incentive to work hard here since most people will really be worried about "winning" not about what prize they get...
9. I still think that the game benefits from some sort of rule (or strong guideline) that every Wonder Point you spend you have to define your actions in an equal number of "frames" or "panels". This really plays to the style of comics...
Overall i like it. You have a couple of really good solutions to stuff we argued about extensively in previous threads. I have listed the things that jump off the page at me above. Many of them explicitly, and all of them implicitly, are accompanied by the disclaimer: "Without playing, this is just what i think from reading." The rules seem much more streamlined without losing a lot of the cool stuff from the first draft.
Now for the big question: Do you think that this system will focus on your Premise? Do you feel that the rules provide adequate and powerful incentive to play for the Moral story? Do you feel that the rules as-is promote non-combat play?
Current projects: Caper, Trust and Betrayal, The Suburban Crucible
Mmmm... delicious double posting goodness...
Quote from: LordSmerf
Well, brace yourself, because I'm thinking of changing it yet further: The current system generates 0.6 successes per die earned, which has been leading both to reduced strategic options (i.e. it's always worth spending your fives, because the unspent 5 is worth 40% less than the spent one) and to dice inflation (need roughly 50% more dice to achieve a given level of effect than you would if they were worth 1.0 successes).
I'm examining the possibility of reducing the system to the following:
[*]1-2: Discard immediately[*]3-4: Discard in order to gain a Wonder point, or keep for your pool[*]5-6: Return to Dice Pool for a Wonder point[/list:u]The benefits of this plan are (a) it's simpler, (b) it has an important role for any roll, (c) it raises the value of each earned die to (statistically) 1.0 successes over its life-cycle.
I'll run this through its paces at my next playtest, probably sometime this week (if I can get it organized).
The Level 3 Wonder: Strength Through Adversity is mechanically dangerous. Using it does not correct the Net Wonder Penalty, thus it could be used each and every round (perhaps even more than once) so that you simply win because you have so many dice.
Yep. That's the intent.
I think you may be overestimating its danger, however. Let me use the new numbers, because it's much simpler to think about these things when each earned die equals 1.0 successes. The dice spent vs. dice gained works out like this:
Penalty Dice Spent Dice Gained Profit
1 4 3 -1
It's not until you get to a Net Penalty of three that you're meaningfully swelling your dice pool. That's a pretty serious penalty. It hurts your dice generation through Tropes badly.
Plus, given that people know that sort of penalty gives you those benefits, why would they let you achieve it? The Editor doesn't have to foolishly run out and take minor levels of control in every single Complication. He can plow all his points into one, Resolve it, and move on to the next.
I still think that the game benefits from some sort of rule (or strong guideline) that every Wonder Point you spend you have to define your actions in an equal number of "frames" or "panels". This really plays to the style of comics...
Agreed. This fits particularly with something I'm about to say (separate post) in response to Statistical. It will be in the next revision.
Do you think that this system will focus on your Premise? Do you feel that the rules provide adequate and powerful incentive to play for the Moral story? Do you feel that the rules as-is promote non-combat play?
Yes, yes and Not enough, respectively.
Still working on non-combat play. Again, my next post will have relevance.
Statistical: I like your categories for explaining the different Scopes of Outcome. I think that they do a good job of addressing the question of how to draw boundaries between giving Narrative Freedom and maintaining the Authority of the person Controlling the Complication.
The more I think about it, the more convinced I am that there are fun possibilities hiding in the question "Who Narrates the outcome of a Wonder?" If it's possible to give people a framework (like the one you describe) that lets everyone agree on how to narrate both success and failure, for themselves and for other characters, then you can use the assignment of narration rights as a tool, rather than a straitjacket. At its easiest, maybe the person who does the Wonder gets to narrate their own actions, and then choose who narrates the outcome:
[*]If a hero gains Control of an "Information" Complication, he might reasonably ask the Editor to narrate the results of his success, assuming that the Editor is the one who has secrets to divulge about the planned story.[*]Alternately, if the player has a strong idea about where the story should go ("He should be plotting to release pirhanas into public swimming pools!") then they could narrate that result when they gain Control on "Information", making it into a Perception-dictates-reality result in the style of Donjon.[*]The Editor might well describe a mighty blow that throws the hero across the room, then ask the heroes player to narrate what happens when they reach the far side... it's then up to the hero to describe whether they fall to the ground spitting up blood, or nimbly bounce off the wall and regain their footing.[/list:u]But there are, I must confess, more intriguing possibilities. Thomas has advocated before for dividing each Wonder's description into multiple frames (equal in number to the cost of the Wonder). This would be an even more useful tool if narration rights were assigned on a per-frame basis.
So a hero doing a five-frame Reversal could narrate a frame of the hero flying under the surface of a filthy river, then ask the Editor to narrate a frame of the depradations of the evil muck-monster and a frame of its terrified victims, then the hero-player could use a frame to show the hero bursting back out of the water in time to counter the muck-monsters power, and describe a frame of the muck-monster recoiling in pain and fury. Five frames, three by the hero, two by the Editor, but clearly along the arc of progression laid out by the Wonder-creating player.
This also strikes me as very empowering for non-combat applications. "Okay, my romantic speech is a four-frame Wonder ('Sequence'?). Here's my first two frames... yadda, yadda, yadda... Editor, could I have a reaction-frame from the love interest before my final frame?"
EDIT: "Final Frame" strikes me as very important. Perhaps, whoever creates the Wonder, the side that controls the Complication it's applied against gets to control who narrates the Final Frame?
Ok, let us examine Strenght through Adverstity...
With a -1 Wonder Penalty you need to spend 4 dice. Statistically these will be evenly split between 3/4s and 5/6s so 2 of those dice will be lost and 2 will go back to your dice pool. So the "profit" (which i define in the increase in the Dice Pool after the action is taken) is actually 1 die. With a -2 Wonder Level penalty you need 5 successes, we can assume that the extra success is a 3/4. So you spend 5 successes and two of them (the 5/6s) go back to your pool, in addition you gain 6 extra dice. So you rolled 5 and got 8 for 3 profit. Now, this ignores the 1 in 3 chance of a die simply being lost.
My problem is that even with a -1 Penalty using this Wonder round after round allows you to build up 4 points of control somewhere at almost no cost to your dice pool. One of the most interesting tactical situations is that as you play you lose dice. Your pool dwindles as you use it. This Wonder allows you to use pure mechanics (not the narration/description stuff of Level 1/2 Wonders) to sustain the number of dice in your Pool...
Unfortunately i can simply Overdraw my Drives to generate a penalty. I can generate a -5 Level penalty simply by Overdrawing all 5 Drives. The reduced Trope generation is a good point, but you have to admit that it is not a big deal if you are able to generate 5+ dice per round through Wonders.
Oh, i like a lot of what you said about Frames... I think there is a lot of potential in Frame sharing and delegation... So, good idea!
EDIT: Are you talking about the "Last Frame" of a Complication as it Resolves (since dice are not spent to Resolve Complications)? It would probably be a good idea to figure out how to handle this...
I'm talking about the last frame of every Wonder.
Generic rules example: If you spend five dice on a Complication, and it doesn't get you control, then you get to choose who narrates the first four frames and roughly what they can do, but the controller gets to decide the last one.
Movie example: Spiderman bounces up on the Unity-Day floats, maneuvering to rescue Mary Jane. He doesn't spend enough points to control the Complication. He describes terrific acrobatics, gets to within nearly arms reach of her... then the Green Goblin comes tearing in from stage right and smacks him into a plate glass wall in the final frame of the Wonder.
On Strength through Adversity... I'll playtest it. Mechanically, it is one strategy of many. If you let somebody execute it to their hearts content it will be powerful. There are powerful counters, particularly in the early stages.
Even when its running well, I don't think it's that much more effective than (for instance) ramping up active Powers and chain-smoking Second Winds to constantly renew your Tropes and Attitudes for more dice.
But I could be wrong. It certainly wouldn't be the first time.
Story-wise, I agree that it would be nice for there to be some extra detail to help Strength through Adversity inspire the sort of "hanging tough, getting pummelled for the greater good" feel that I imagine for it.
Quite possibly the right way to do this is to explicitly require people using this Wonder to give away more of their narration frames (as above) than they would normally have to do.
I had not even thought of that. I think that this is an excellent and elegant solution to the problem you brought up ealier regarding changing Complications as you spend points in them, Last Frame rights really should mitigate any problems. Of course there still needs to be some consideration of how to handle narration of Resolution...
Quite possibly the right way to do this is to explicitly require people using [Strength through Adversity] to give away more of their narration frames (as above) than they would normally have to do.
This is also a very good solution i believe. As long as the system is not too mechanically broken (and it seems that it might not be), the decreased narration privileges should be enough of a deterrent...
Overall i think we have now reached the stage where the only way to really advance the game will be through playtesting... Congratulations, i think you have something on your hands here that is really exciting.
Sydney Freedberg
What sort of suggestions and constraints should I give the players for how to narrate something that brings them closer to control, but does not actually accomplish control?
Thomas has already answered your initial question from one important angle: closer to control means more influence over narration of what happens -- and I think you have the seed of a brilliant idea towards implementing that with Frames, where being 80% of the way towards control lets you do 80% of the narration, but not the crucial Final Frame. This'll take a lot of thrashing-out to make it work, of course.
There's another angle as well: As I understand the rules, every time you spend towards Control of a Complication, you are performing a Wonder too -- and Wonders can help you even if they don't get you outright control.
Which leads me to some issue-by-issue thoughts on the latest draft:
(1) Buying Control vs. Buying Wonders?
As I read it, when you spend X points towards Control of a Complication, you buy a (X +/- modifiers) level Wonder at the same time. There's a strong element of positive feedback here: Wonders both strengthen your position in terms of Control and have tactical effects which (here comes the feedback loop) make it easier for you to strengthen Control later.
I'm all for positive feedback loops, especially in portraying comic-book clashes, which tend to escalate wildly; but I think this will take careful playtesting to make sure this mechanism doesn't reinforce itself too wildly. I'm particularly thinking that the higher-level Wonders may need to be toned down.
Then again, having such strong effects from high-level Wonders may be just the incentive you need for players to go into massive Debt to get them.
(2) Non-combat Wonders?
I still think the Wonder list is somewhat limited, and somewhat combat-oriented (although it's far more flexible than earlier versions). Yes, they're fairly generic, and even "Massive Overkill" could be applied to a social situation ("You're at the prom. Your pants fall off. Everyone laughs.") But I'd recommend that in playtesting, the Wonder list be treated as a set of guidelines of what's appropriate to each level rather than a fixed menu of what's available at each level, and that new Wonders be added to the final draft.
(3) Issues as Super-Complications?
I sidestepped the difficulties in defining what Issues are, with regard to Complications, by the simple expedient of making Issues a player goal...
I agree with Thomas that Issues get awfully expensive awfully fast. Also, I can't find anything about what Issues actually do besides act as a character advancement mechanism. I really liked the idea of Issues acting as mega-Complications to be contested over thelong term and where effects of Control permeate everything else (e.g. Peter Parker's up-and-down relationship with Mary Jane increasing or decreasing his self-confidence, or "city terrorized by crime" increasing or decreasing the tendency of Innocent Bystanders to panic and get in the way vs. actively helping the hero); this is a simple way to preserve all the world-defining goodness that was in Facts before they were discarded (rightly, I'd agree) as over-complicated.
It shouldn't take too many rules to add this dimension, I'd imagine, since it's basically saying "Issues are big Complications."
(4) Standard Complications?
I suspect you need not just examples of play showing Complications but an actual list of some "standard" ones (e.g. Clobbering, Innocent Bystanders, Moral High Ground, Information) with guidance on what winning or losing actually means in each case. Most of this is admittedly implicit in the mechanic that "Complications you win become Inspirations to help you in the next Complication"; most, but not all.
Right now, for example, it's implicit in your examples of play that losing "Clobbering" means the loser is at the mercy of the victor -- but not necessarily dead or lastingly impaired by injuries, as in many other RPGs; this is the kind of thing that should probably be made explicit at some point before the final draft.
Bloodstained Stars
and apocalypse girl
Quote from: Sydney Freedberg
One thing that might be interesting would be having Issues as uber-Complications in which whoever controls them can use them for dice once per scene (like an Attitude or Trope). That would be pretty cool (i think so anyway), but it still does not solve the problem of Resolving Issues. I think that until we figure out some effective way to handle that that Issues are not really viable...
Well, I spent a goodly amount of time today solo-playtesting the rules while making up a new Example of Play.
Having playtested it... you guys were right. The rewards in the Wonders are currently too rich. They cause a cascading increase in dice that becomes very quickly impracticable. Twenty-eight dice is just too many for the system to feel right with.
So I'm going to have to rework the numbers on the Wonders, then give it another go. Which is painful, but not as painful as discovering these numerical problems in non-solo playtesting.
I've posted the Flawed Example of Play, because (while the numbers go crazy at the end) I think it gives a fairly good idea of how I see non-combat conflicts being resolved in the system. Plus, it's the first example I've made that has the Frame-assignment of narrative rights in action. I'm happy with how it turned out, at least in my mind.
Read the example of play. Well done, it really gets a lot of the "feeling" of play accross. I concur that there are far too many dice gained from Wonders which seem to lessen the value of Attitudes and Tropes. I think that Powers, Attitudes, and Tropes should be the primar sources of dice. In fact elminating all dice gaining Wonders other than those that reset abilities would probably contribute to the idea that Dice come through playing to your character's story instead of through good dice rolling.
One thing that i am hesitant about is the way Complication outcomes are determined. At the moment they are incredibly vague, basically "if you win make up something that makes sense." The problem is in cases where you have Clobbering and a Capture Character type Complications that get split between the two sides... How do you resolve issues when you the goals of each side are contradictory? From the example of play let us assume that Silver Star's Stealth Complication is resolved in her favor and she determines that she gets out of the building undetected... What happens with the rest of the complications then?


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Used Toyota Land Cruiser review
A full used buyer's guide on the Toyota Land Cruiser covering the Land Cruiser Mk4 (2009-date)VerdictWhile the Toyota isn't as plush as most of its key rivals, you get terrific off-road ability, generous equipment and superb reliability. Running costs are inevitably high because this is a thirsty car and insurance cover isn't cheap, but routine maintenance doesn't work out as especially expensive. There are few available on the used market, partly because the Land Cruiser isn't a big seller, and partly because owners tend to hang on to them. Those owners accept that the Toyota won't be the most refined SUV around, but it combines usability with dependability like nothing else.
In 2021 Toyota will celebrate 70 years since the first Land Cruiser went on sale. That model was developed for military use and appeared just six years after World War Two.
By the mid-sixties, Toyota introduced the Station Wagon to appeal to a wider audience, especially those who needed a practical vehicle to cope with the toughest terrain.
The Land Cruiser got ever bigger and more luxurious, with a V8 variant arriving in 1998, almost a decade after Toyota split the range in two: a full-sized model known as the Amazon in the UK, and a smaller 'light-duty' edition initially sold as the Colorado. Here we focus on the latter, sold simply as the Land Cruiser.
Models covered
• Toyota Land Cruiser Mk4 (2009-date) – Big 4×4 is practical, great off-road and very reliable – if you can find one.
Toyota Land Cruiser Mk4
The fourth-generation Land Cruiser 'Colorado' (codenamed J150 by Toyota) reached UK showrooms in December 2009, with a 171bhp 3.0-litre diesel engine and a five-speed automatic transmission only.
Buyers could choose between LC3, LC4 and LC5 trim levels, with seven seats fitted as standard to the latter two, whereas the LC3 had five seats, with a third row optional.
A facelifted model arrived in December 2013 with recalibrated suspension and extra safety features, while the trim levels were renamed Active, Icon and Invincible. A 174bhp 2.8-litre diesel engine and a six-speed automatic transmission became standard fare in August 2015.
Further revisions in January 2018 brought a new entry-level Utility trim, a redesigned dash, an updated design and extra kit.
Toyota Land Cruiser reviews
Toyota Land Cruiser Invincible review
Toyota Land Cruiser Invincible Auto review
Which one should I buy?
Each successive update brought a higher-quality interior and more equipment; post-2013 Land Cruisers are far more luxurious than earlier cars, and the 2.8-litre engine is usefully more efficient than the 3.0-litre.
Basic LC3s are scarce, and come with 17-inch alloys, climate and cruise control, Bluetooth and keyless go. But we'd go for a mid-spec LC4, which adds three-zone climate control, 18-inch wheels, powered folding third-row seats, leather trim, electrically adjustable heated front seats, automatic headlights, auto-dimming rear-view mirror, rear camera, navigation and uprated audio.
Top LC5 models get a suite of off-road tech, such as adaptive variable suspension with active height control, crawl control, multi-terrain monitor with steering angle display and multi-terrain select, plus a rear TV screen for DVDs and computer games.
Alternatives to the Toyota Land Cruiser
The Mitsubishi Shogun is the closest rival. It too puts towing and off-road ability ahead of luxury and refinement, but it is spacious (in rows one and two) and well equipped.
If off-roading ability is key, a Land Rover Defender might suit, but a better bet would be a Discovery or Discovery Sport. They have far better refinement and a much more luxurious interior. The Volkswagen Touareg is another desirable 4×4 that's superb at towing, luxurious and comes with some excellent engines – but only five seats.
If seven seats are essential, also think about the BMW X5, Audi Q7 and Mercedes GL/GLS-Class. All are costly to buy and run, but offer a more luxurious take on the large SUV format, and are excellent at towing.
What to look forTowing
All Toyota Land Cruisers have a maximum towing capacity of 3,000kg with a braked trailer, or 750kg if unbraked.
Whereas three-door Land Cruiser models are fitted with a manual gearbox, five-door models are equipped with automatic transmissions.
The spare wheel is kept below the boot floor. Its lowering mechanism has been known to seize up if neglected for a long period of time.
Manual 'box
Very few of these cars are fitted with a manual gearbox, which is just as well; the shift on such units can be quite poor.
This is a big car, but it's not as roomy as you might expect. Rows two and three are surprisingly cramped, with the latter only really suitable for children, although there's lots of headroom in the first two rows. The cabin is easy to use, very well equipped and extremely well put together, while boot space is excellent at 621 litres with the third row down, but just 104 litres with all seven seats in use.
The Land Cruiser service schedule alternates between minor and major, priced at £250 and £395 respectively, with a service due every 12 months or 10,000 miles. The engine has a timing belt rather than a chain, but this costs just £250 to replace. It needs to be done once every 10 years or 100,000 miles.
The coolant also needs to be replaced after 10 years or 100,000 miles – and then every 60,000 miles after that – but the cost of this is included in the routine servicing. Also built in is fresh brake fluid, which is required every two years or 20,000 miles.
This generation of Land Cruiser has been recalled just once. It happened in June 2017 and affected 589 cars built from June 2015 to January 2016, which could suffer from a damaged mount for the AdBlue injector on the exhaust pipe. If the flange and pipe separated, AdBlue was no longer injected. Toyota fixed the problem by replacing the forward section of the pipe.
Driver Power owner satisfaction
Predictably, the Land Cruiser is too niche to appear in our Driver Power surveys, but Toyota was 10th in the 2019 brand survey. The firm's standing was boosted by a particularly good showing for reliability and low running costs. Other high spots were for build and ride quality, and safety equipment. Interior design and storage were the low spots across the brand's cars.
For an alternative review of the latest Toyota Land Cruiser SUV visit our sister site carbuyer.co.uk
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The Group was formed as a result of the closure in September 2000 of the 'Starting Out' and 'Advanced' photography classes at Tendring Adult Community College at Green Lodge.
The aim being to allow those students on the Starting-Out course to continue their studies and to improve their photographic techniques, and for the Advanced students to work towards acquiring their Licentiate of the Royal Photographic Society (LRPS) and possibly advance to the Associateship (ARPS).
The workshop helps members to expand their range of photographic skills in all aspects of photography i.e. film processing and printing, mounting prints, photographing landscapes, portraiture, wildlife, sport, creative, abstract etc. in both the traditional and digital forms.
The preliminary meeting was held on 6th March 2001 at Holland Public Hall when twelve members attended a further three members were unable to attend). After some discussion it was decided that there would be two sub-groups, starting-out and advanced.
The two groups would meet on alternate Tuesdays, with joint meetings when there were visits from RPS assessors or technical talks/advice from judges etc. The two sections later amalgamated into a single group, as it was found that both gained from closer interaction and discussion of ideas.
The aim was to allow those students on the Starting-Out course to continue their studies and to improve their photographic techniques, and for the Advanced students to work towards acquiring their Licentiate of the Royal Photographic Society (LRPS) and possibly advance to the Associateship (ARPS).
New members are always welcome.You do not necessarily need to work towards LRPS/ARPS qualifications.
If you take photographs, but find that you are disappointed with the results of your work, then come along to one of our meetings.
Bring some of your prints/slides and discuss your problems with our members and you will soon be producing better pictures. After all, we were all beginners at some time!
We had a very full programme last year(2012), and are looking forward to this year's with some interesting events and some inspiring guest speakers.
The present membership is around twenty, and new members are always welcome.
Whatever your level of photographic skill. You will find plenty of help available from our more experienced members.
01255 814801 for further details.


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Our 12-16 Gallon Bag collection offers many bags that usually work well in the cans below.
Whether you're buying waste can liners for the kitchen, bathroom, or office, this 12 to 16 gallon size is large enough to hold a considerable load: between 60 and 75 lbs in most cases, depending on the thickness of the resin. At the same time it's small enough to be convenient and portable, so taking out the trash never needs to be an arduous chore. In our selection you'll find everything from opaque black garbage bags (which look great in a stainless steel can and hide away unsightly food waste) to pristine white trash bags (for a sparklingly sanitary look), and everything in between, including bright green garbage bags, clear trash bags, blue recycling garbage bags and more. In addition to the standard 13 gallon trash bags, we offer a variety of different dimensions so your bag fits your trash can perfectly. If you aren't buying wholesale trash bags yet, why not? Buying bulk waste basket liners is an excellent way to cut costs around the home or in the workplace, all without compromising on quality. When you purchase wholesale garbage bags from Plastic Place, you have our 100% satisfaction guarantee. We source the highest quality trash bags on the market, and deliver them with the highest level of customer service. We make it our mission to save you money, time, and effort, and we'll always go above and beyond to make sure your experience with us is seamless every time.


November 15, 2011 at 3:30pm .
Jeffrey Toobin writes about legal affairs for the New Yorker. He is also the senior legal analyst for CNN. As described here, Toobin has written Profiles of the Supreme Court justices Stephen Breyer, Anthony Kennedy, Clarence Thomas, and Chief Justice John G. Roberts, as well as articles on many other subjects. In 2000, he received an Emmy Award for his coverage of the Eliàn Gonzàlez case. His most recent book, "The Nine: Inside the Secret World of the Supreme Court," was published in 2007. Mr. Toobin served as an Assistant United States Attorney in Brooklyn, New York. He also served as an associate counsel in the Office of Independent Counsel Lawrence E. Walsh.