text:
A Place That Never Was
Compared to fantasy and sci fi, historical roleplaying games are the poor relations of the tabletop hobby. A variety of reasons are trotted out to explain this disparity. The usual suspects include the indisputable fact that fantasy came first - regrettably, perhaps - and established a dominant niche among gamers. That the overwhelming majority of gamers want magic - and it's kissin' cousin, sufficiently advanced tech - seems inarguable; for example, the most commercially successful cape-and-sword roleplaying game published to date, 7th Sea, is billed as 'swashbuckling and sorcery.'
The idea of historical roleplaying itself tends to get knocked around in these discussions as well. Some simply find the idea of playing in our own past too dull, while others express concern about getting the history 'right,' often citing the prospect of a 'history expert' at the table sucking every last vestige of fun from the room by repeatedly telling everyone They're Doing It Wrong. A fictional game-world sidesteps this potential pitfall.
The possibility of using a fictional country set in the real world rarely seems to come up, which is a bit surprising considering how often this is used in the stories from which so many roleplaying games draw inspiration. A fictional region or country provides both the flexibility and originality of an imaginary game-world with the familiarity of the real one.
Anthony Hope set his famous swashbuckling saga - The Prisoner of Zenda, Rupert of Hentzau, and The Heart of Princess Osra - in the fictional kingdom of Ruritania, a German-speaking, Roman Catholic monarchy vaguely located in the vicinity of Saxony and Bohemia. The stories of Ruritania were so successful that Hope's tales would spawn a genre - Ruritanian romances - all its own. A number of later authors would set stories in Mr Hope's Ruritania or use it as the origin for characters in their own works.
Ruritania has worked its way into the fields of law and political science, as a stand-in for real countries in discussing hypothetical cases.
I chose to set my Flashing Blades campaign in 17th century France, but I blended in fictional characters and places from cape-and-sword stories and other tales. In my campaign, Ruritania is part of the Holy Roman Empire, and the adventurers are about to find themselves challenged to a duel initiated by the graf von Hentzau, an Imperial cavalry commander. I've also incorporated James Branch Cabell's Poictesme as well as the modern French creation Groland.
One of my future projects on this blog will be developing a Ruritania of my own, in conjunction with the OSR swashbuckling game Backswords and Bucklers.
Posted by Black Vulmea at 1:55 AM 5 comments:
Labels: Anthony Hope, Ruritania, The Prisoner of Zenda
Cinematic: Scaramouche
Posted by Black Vulmea at 12:32 AM No comments:
Labels: Scaramouche, video
Off the Shelf: Chapbooks
Chapbooks are popular books printed on cheap paper, often a single sheet folded into a booklet of eight to twenty-four pages, and illustrated with woodcuts, typically reused from other publications. The subjects vary from religious texts to poetry to almanacs to chivalric romances. Many French chapbooks come from printers located in the city of Troyes, in the provice of Champagne, southeast of Paris.
Chapbooks are popular with all classes, but they are primarily written for peasants, tradesmen, and merchants. As such they may be found in many residences or carried, stuffed in pockets. Roll 1D6 for the number of chapbooks, then roll 1D20 for the individual titles. Duplicate rolls may be treated as additional copies of the same volume or re-rolled at the referee's discretion.
1. Le Roman du vaillant Chevalier Ogier le Danois gui fui un des douze pairs de France, lequel avec le secours du roy Charlemagne chassa les Païens hors de Rome et remit le Pape en son trône
2. Histoire des avantures heureuses et malheureuses de chevaliers, avec sa bourse et son chapeau. Enseignant comme un jeune homme se doit gouverner
3. Histoire de Jean de Paris, Roi de France
4. Histoire de Jean de Calais
5. La terrible et merveilleuse vie de Robert le Diable
6. Histoire de Richard sans Peur, Duc de Normandie, fils de Robert Le Diable, Qui par sa prudence fut Roi d'Angleterre, & fit de grandes conquêtes & vaillances
7. La vie du fameux Gargantuas, Le plus terrible geant qui ait jamais paru sur la terre
8. La vie joyeuse et recreative de Tiel-Ulespiegle
9. L'hystoire des deux nobles et très-vaillans chevaliers
10. L'opérateur des pauvres
11. Le grand calendrier et compost des bergers
12. La plaisante et triomphante histoire des hauts et cheualeureux faicts d'armes, du tres-puissant & tres-magnanime, & tres-victorieux Prince Meliadus, dit le Cheualier de la Croix, fils vnique de Maximian Empereur des Allemaignes
13. La complainte des argotiers
14. Prédictions et pronostications généralles
15. Les quinze effusions du sang de nostre sauveur
16. Le palais des curieux
17. Légende et vie chrestienne
18. La vie mort et passion et resurection de nostre sauveur Jésus-Christ
19. Recueil général des quaquets de l'accouchée
20. Predictions perpétuelles du nombre d'or ou cicle
Labels: books, off the shelf, random
The Pernicious Influence of The Princess Bride
Mandy Patinkin called it "The Wizard of Oz of our generation." Conceived as a fairy tale by William Goldman, TPB is a love story, a comedy, a fable, and a swashbuckler by turns. Modestly successful during its theatrical run, the movie became an icon following its release on video, allowing it to reach a wider audience that now stretches across generations.
It's a brilliant, timeless movie which is preceived as representative of the cape-and-sword genre rather than the loving satire of that genre it was intended to be.
TPB reached a broad audience at a time when cape-and-sword movies were few and far between. The last significantly successful swashbucklers in the US, Richard Lester's Musketeers movies, were thirteen years earlier, in 1974, and Stephen Herek's The Three Musketeers wouldn't premiere for another five years, so for many viewers, particularly younger viewers, TPB was their introduction to the genre. With its relatively mild violence and the chaste relationship between Westley and Buttercup, TPB likely reached its audience at a younger age than the Musketeers movies as well.
And as a result, the caricature became the reality.
Inconceivable?
Lemme 'splain.
Cape-and-sword books are often darker and grittier than movie swashbucklers. The Three Musketeers, in its English-language versions, was often sanitized for its audience. For example, to avoid impuning the Catholic Church, the comte de Rochefort, not the Cardinal, becomes the instigator of the plot against the Queen in Rowland Lee's 1935 movie, whereas Richelieu is a duke, not a prelate, in George Sidney's 1948 film - that's the one starirng Gene Kelly. D'Artagnan's escapades with Constance Bonacieux and Milady were whitewashed as well - even the Richard Lester movie, the most faithful to the book of any of the films in English, omits d'Artagnan disguising himself as the comte de Wardes to seduce Milady, though it does include the Gascon's seductions of the married Mme Bonacieux and Milady's maid, Kitty, as well as Milady herself.
Swashbuckling movies generally focus on fast-moving action and frequently slapstick humor and this was no less true of the many cape-and-sword films through the first half of the twentieth century. The action in TPB is an homage to the era of Errol Flynn. What was different is that the era of swashbukling movies wasn't so far removed from the time when cape-and-sword stories were more common on bookshelves as well. Swashbucklers fell out of style at the same time cinema became more frank in its depictions of both violence and sexuality, so the darker side of cape-and-sword stories familiar to an audience which read the books was lost on those whose primary exposure was through the movies.
By the time we reach TPB in 1987, neither cape-and-sword books nor movies are as ingrained in popular culture, and the exploits of Westley, Inigo Montoya, Fezzik and the rest shape the perceptions of what a swashbuckling tale should be for a generation with little exposure to the depth and breadth of the tales which the movie so affectionately satirizes.
Personally I find it impossible to imagine Prince Humperdink disguising himself as Westley to seduce Buttercup, or a drunken Inigo picking a fight with a villager just to watch him die, or Vizzini strangling Buttercup with a string of rosary beads, or Fezzik crushed under a castle portcullis.
But those are part of cape-and-sword tales, too, alongside the witty one-liners and flashy stunts. In swashbuckling stories, the heroes may die, insults may go unavenged, and the girl can end up dead on the floor of a convent.
Posted by Black Vulmea at 11:06 PM 5 comments:
The Three Musketeers: The Animated Series
In 1968, Hanna-Barbera produced a Three Musketeers animated short series which aired as part of The Banana Splits show, along with an Arabian Nights cartoon and the live-action serial Danger Island.
Thanks to the miracle of the Intewebs, The Three Musketeers cartoons can be found online, in their entirety, at The Big Cartoon Database. Each runs about eight-and-a-half minutes and features the four Musketeers plus a young wannabe named Tooly in a variety of adventures.
They are surprisingly well-written, and I gleaned a number of ideas for my Flashing Blades campaign.
Labels: The Three Musketeers, video
Taking the Reins
Al at Beyond the Black Gate recently blogged about the player driven campaign.
The best groups I've played with or DM'd have not just been the games that were run the best, or offered the best adventures or settings, they were the games wherein the players were just as interested in developing the game as the DM. . . . It seems like having a way to briefly describe the players' role in the development of the best campaigns would be a good thing - just as important as providing a good setting, good adventures, and the best suited ruleset.
My best experiences with roleplaying games include players contributing to the development of the campaign as well, and thinking back on those campaigns, here's what stands out for me.
Setting and managing expectations: Proactive players rarely just happen. Many players expect a campaign to be prix fixe, and if you're serving à la carte, it's important to put it in their heads from the giddyup so they don't go hungry. Players should be encouraged to see themselves as more than mere consumers of a campaign, and in my experience this begins before character generation takes place.
Harness the rules: Some games make this very explicit - World Burning in Burning Empires comes to mind. The players are active participants in the process of creating the setting and the conflicts which arise from it, so at least some measure of campaign development is hard-coded into the rules. More traditional roleplaying games proceed from the assumption that the referee is responsible for creating the setting in which the game takes place and the conflicts which drive the action; in some systems, some player development of the campaign may take place through their characters, often through rules like GURPS' Advantages and Disadvantages or even through the 'stronghold-building' aspect of name-level 1e AD&D characters
In Flashing Blades, characters have Advantages and Secrets, some of which introduce conflict through established relationships, such as Sworn Enemy, Secret Loyalty, or Favor, while others create connections to institutions in the game-world, such as Member of an Order.
I should note that while I believe using the rules to establish initial connections to the setting may help, they are not a substitute for developing those connections through actual play.
Reinforce the genre: The game genre offers clues to what characters in the campaign are expected to do. For example, cape-and-sword suggests roguish characters who spend time carousing, wenching, gambling, and dueling. It also includes romance, intrigue, a struggle for honor, and advancing one's station in society.
In my experience, the memes conveyed by genre encourage the players' freedom to improvise by handing them a lever with which to move the setting in actual play.
Dangle carrots: The game's rewards system drives player choices.
Let me say that again.
The game's rewards system drives player choices. If a player wants her character to get better at swinging a sword, and the way to get better at swinging a sword is to engage in duels, then the player is more likely to pick fights.
If the game rewards in-character behaviors which serve to develop the campaign, then the players are more likely to pursue them. In Flashing Blades, for example, the career rules offer the adventurers the chance to improve their Social Rank, whereby they gain access to wealth and influence. As the campaign progresses, increased Social Ranks puts them in a position to exert meaningful changes to the setting in actual play.
Provide a dynamic world: In my experience, the more the game-world feels like a living place, the more the players and their characters will feel like they can effect change. The classic example of this is 'clearing the dungeon' - if the adventurers return to town after defeating the cultists in the ruined moat house and discover that there's no room at the inn because merchants are passing through again, and there's new construction to accomodate families moving to the area thanks to its safe reputation, then the players will feel the effects of change even if they didn't set out to cause those changes directly.
So that's how I do that.
Labels: playstyle, refereeing, sandbox
Wednesday Wyeth
Prepare to be boarded.
Posted by Black Vulmea at 1:00 AM No comments:
Labels: art, nc wyeth
The Exile on TCM
Turner Classic Movies played The Exile tonight, and I happened to catch it right as it started. Set in the Netherlands during the fourteen-year exile of Charles Stuart, Douglas Fairbanks Jr. portrays the Merrie Monarch as a dashing rogue content to con and seduce stolid Dutch peasants until such time that all of England calls for his return. Roundhead assassins are on the prowl, and Charles conceals himself as a laborer on the farm of a blond Dutch tulip farmer and innkeeper, played by the lovely Rita Corday.
The movie concludes with the discovery of Charles' whereabouts and identity by the Roundhead Colonel Ingram. A chase ensues, first around the inn where Charles is discovered, and then in a windmill. The action is great, and while Junior is by no means the stuntman his father was, he does a credible job, up and down the vanes of the windmill dodging the assassins and then battling the sanctimonious Ingram inside the mill itself.
Rita Corday would go on to play a masked swordswoman herself in The Sword of Monte Cristo in 1951, four years after The Exile.
The Exile also features Latina bombshell Maria Montez. ¡Ayúdame!
For anyone not familiar with the story of King Charles II of England, I can recommend no better brief biography than this one. Make sure your sound is up first.
Labels: movie
Off the Shelf: Fencing Manuals
From time to time adventurers may find themselves in libraries and other places where books can be found. Some players will want to know exactly what's on those shelves, so with that in mind, Off the Shelf consists of lists of book titles for the referee to use in rolling or choosing exactly what the adventurers find.
Fencing manuals are reference works for teaching the use of the sword and other weapons. The manuals are often extensively illustrated with engraved plates. Fencing manuals are most often found in fencing schools or in the private libraries of nobles. Roll 1D6 for the number of manuals, then roll 1D20 for the individual titles. Duplicate rolls may be treated as additional copies of the same volume or re-rolled at the referee's discretion.
1. L'Espée de Combat, ou l'Usage de la Tire des Armes by François Dancie
2. Scola overo Teatro by Nicoletto Giganti
3. Neuer Diskurs Kunst des Fechtens by Joachim Koppen
4. The Schoole of the Noble and Worthy Science by Joseph Swetnam
5. The Private Schoole of Defence by George Hale
6. Gran Simulacro by Ridolfo Capo Ferro
7. Discours de la theorie de la practique et de l'excellence des armes by André Desbourdes
8. Sienz e Practica d'Arme by Salvator Fabris
9. Trattato in materia de scherma by Marco Docciolini
10. Paradoxes of Defence by George Silver
11. Libro de las Grandeza de la Espada by Don Luis de Narvaez
12. Regole do molti cavagliereschi esserciti by Frederico Ghisliero
13. De veris principiis artis dimicatoiae tractatus brevis by Heinrich von Gunterrodt
14. Traicté contenant les secrets du premier livre sur l'espée seule, mère de toutes armes, qui sont espée dague, cappe, targue, bouclier, rondelle, l'espée deux mains & deux espées, avec ses pourtraictures, ayans les armes au poing por se deffendre & offencer à un mesme temps des coups qu'on peut tirer, tant en assillant qu'en deffendent, fort utile & profitable por adextrer la noblesse, & suposts de Mars: redigé par art, ordre & practique by Henry de Sainct Didier
15. Ragione di adoprar sicuramente l'Arme, si da offesa come da difesa by Giacomo di Grassi
16. De libro que tratta dela philosiphia de las armas by Jeronimo De Carranza
17. Trattato di scientia d'arme, con un dialogo di filosofia by Camillo Agrippa
18. Descorso sopra I'arte della scherma by Camillo Palladini
19. Gründtliche Beschreibung der Kunst des Fechtens by Joachim Meyer
20. Opera Nova by Achile Marozzo
And now, when a Spanish swordsman says he "has studied his Agrippa," you know what's on his nightstand.
I have this secret fantasy. It's 1967, and instead of Siege of Bodenburg, somebody puts a copy of Breitenfeld in Gary Gygax's hands, and rather than writing a medieval wargame, Mr Gygax would develop a set of English Civil War or Thirty Years War rules that Dave Arneson would tap to create the first roleplaying game, Sorcerers and Swashbucklers.
Hey, a humble pirate can dream.
Let's start with a little history of how things actually played out.
Cape-and-sword games fill a tiny niche in the tiny niche that is the roleplaying game hobby. One of the earliest roleplaying games in any genre, En Garde! was published in 1975 by Game Designers Workshop, featuring the adventurers of gentlemen swashbucklers dueling and carousing and trying to earn royal favor in a sort of Ruritania setting. A second edition of En Garde! followed in 1977, and then in 1978, Fantasy Games Unlimited released Rapier and Dagger, a skirmish game compatible with the fantasy roleplaying game Chivalry and Sorcery, providing the first set of 'swashbuckling and sorcery' roleplaying rules, twenty years before 7th Sea.
By 1979, roleplaying games began to really diversify away from their fantasy roots, and a number of cape-and-sword games followed, one on the next: Buccaneer (1979), Crimson Cutlass (1979) - perhaps best remembered for its use of Spanish tarot cards for action resolution - Skull and Crossbones (1980) - another Fantasy Games Unlimited offering - Pirates and Plunder (1982), Maelstrom (1984) - more properly an Elizabethan era historical game than a cape-and-sword game, but noteworthy for its attention to the period - and Flashing Blades (1984) - yet another FGU game.
With a supplement for pirates and ship-to-ship combat (High Seas), an 'adventure path' (An Ambassador's Tales), and two collections of short adventures (Parisian Adventures and The Cardinal's Peril), Flashing Blades set a watershed mark as the most extensively supported cape-and-sword roleplaying game until 7th Sea.
And then, after nearly a decade of slow but steady production, a hush fell. Over the next fifteen years only a handful of cape-and-sword games were released.
En Garde (1988) - a Swedish game unrelated to the GDW product - Crimson Cutlass second edition (1989), Lace and Steel (1989) - swashbucklers and sorcery crossed with romantic fantasy - Boucanier, (1992) - a French pirate game - Dzikie Pola (1997) - a Polish historical roleplaying game based on the novels of Henryk Sienkiewicz - Lace and Steel second edition (1998), and Swashbuckler (1998) - the first new English-language cape-and-sword roleplaying game in nearly a decade. The big names in generic systems - GURPS and Rolemaster - released cape-and-sword supplements, while TSR produced a late Renaissance supplement, A Mighty Fortress, for 2e AD&D.
'Swashbuckling and sorcery' reached a crest when 7th Sea arrived in 1999, with more than a score of titles released during the game's six year run, primarily detailing the game's setting of Théah, a fantasy Restoration pastiche. A collectible card game and comic books set in Théah accompanied the roleplaying game, and a d20 version, marketed as Swashbuckling Adventures, was released near the end of the line.
After 7th Sea came a number of pirate games, capitalizing no doubt on the success of Pirates of the Caribbean: Curse of the Black Pearl: Bloode Island (1999), The Legacy of Zorro (2001) - also a movie tie-in - Bloode Island second edition (2002), Capitan Alatriste (2002) - a Spanish-language game based on the great novel series - Pirates: The Great Adventure Game (2003), Skull and Bones (2003), Bloode Island (2004) - again! now diceless! - Eric Flint's 1632 Resource Guide and Role Playing Game (2005) - based on the novel series - Privateers & Pirates (2005), Te Deum Pour Un Massacre (2005) - similar to Maelstrom, this is more of a 16th century period game, against the backdrop of the French Wars of Religion, than a cape-and-sword game - Gloire: Swashbuckling Adventure in the Age of Kings (2006) - a tabletop skirmish game, similar to 1e or 2e Boot Hill, with some roleplaying trappings - Pirates of the Spanish Main (2007) and The Savage Worlds of Solomon Kane - the last two both using Savage Worlds rules - Maelstrom (2008) - re-released by a new publisher - and Swashbucklers of the 7 Skies (2009). As far as generic games go, d20 Past, a supplement for d20 Modern, included a 'swashbuckling and sorcery' campaign model, and 3e D&D offered options for playing swashbuckling characters as well.
After a decade dominated by pirate games, 2010 brought All for One: Régime Diabolique, another entry in the 'swashbuckling and sorcery' using the Ubiquity rules and perhaps the first cape-and-sword roleplaying game since 7th Sea to receive extensive support in the form of supplements and adventures, many of them short .pdfs. And 2011 promises another cape-and-sword game, Honor + Intrigue, based on the rules for Barbarians of Lemuria.
Most of these games appeared and disappeared without leaving more than a ripple on the face of the hobby. A few retain a cult following. A couple have a reasonable fanbase among gamers.
The reasons why seem pretty straightforward. Roleplaying games often present a funhouse mirror image of popular culture, but with respect to both the western and cape-and-sword genres, the relative lack of popularity among gamers tracks pretty closely with their reception in the larger world of entertainment. Westerns and swashbucklers once enjoyed a popularity equal to that of horror today, but both genres were in decline around the same time that tabletop roleplaying games appeared, whereas the popularity of D&D in particular and roleplaying games generally contributed to an increased interest in fantasy and science fiction during tabletop roleplaying's peak of popularity.
Which makes the idea of changing the game in Gary Gygax's hand those many years ago all the more appealing.
Labels: games, history
A Day Late and a Peso Short
More like a few days late, actually - I claim a noob mulligan.
Zak has questions. I have answers.
1. If you had to pick a single invention in a game you were most proud of what would it be?
The ring of trollish regeneration - it allowed the character wearing it to regenerate but turned the character into a troll.
2. When was the last time you GMed?
Last month - our Flashing Blades campaign.
3. When was the last time you played?
Wednesday - also Flashing Blades.
4. Give us a one-sentence pitch for an adventure you haven't run but would like to.
In the palace of the khan of Khiva lies Almace, the sword of the Archbishop Turpin. To return the legendary sword to France would earn the gratitude of both the king and the pope, but discovery in the city of Khiva means a horrible death to any infidel . . .
5. What do you do while you wait for players to do things?
Struggle to keep in peals of maniacal laughter.
6. What, if anything, do you eat while you play?
Whatever's lying around the table, which is why I make sure there're vegetables.
7. Do you find GMing physically exhausting?
Only when I'm doing it right.
8. What was the last interesting (to you, anyway) thing you remember a PC you were running doing?
Fighting a bravo, a lackey, and a trollop over my character's gambling winnings. My character managed to down the bravo with a dirty trick, then proceeded to nearly have his ass kicked by the trollop.
9. Do your players take your serious setting and make it unserious? Vice versa? Neither?
I think my players take my setting a tad more seriously than I do. I like subtle whimsy, like the Swiss guard who only speaks German yet seems to understand every language spoken around him.
10. What do you do with goblins?
Goblins are Jawas.
Only they'll steal your baby out of its crib instead of your droid from the shed.
11. What was the last non-RPG thing you saw that you converted into game material (background, setting, trap, etc.)?
Aside from my entire setting, which is 17th century Europe? The last thing I added to my campaign was stats for petards - the Renaissance version of the shaped-charge - and foussages - the Renaissance version of the improvised explosive device.
Clearly I feel a need to yell, 'BOOM!' coming on.
12. What's the funniest table moment you can remember right now?
One of the adventurers, a King's Musketeer, was trying to get some play from a Genoese lady-in-waiting, but he found her flirting with an officer from another regiment. She started egging the two characters into a duel. The other two players were giving the Musketeer's player a metric buttload of grief - 'She's so playing you. Don't be a fool." - in and out of character. It sounded just like a bunch of friends at a bar on a Saturday night.
I should mention that the resulting duel ended with the adventurers exiled from Paris.
13. What was the last game book you looked at--aside from things you referenced in a game--why were you looking at it?
The Nocturnals sourcebook for Mutants and Masterminds, just 'cause it's so cool.
14. Who's your idea of the perfect RPG illustrator?
Living? Dan Brereton. Deceased? N.C Wyeth. Honorable mention? Jean-Louis-Ernest Meissonier.
15. Does your game ever make your players genuinely afraid?
One of the adventurers in our game is among the best swordsmen in France. I have only a handful of non-player characters in the setting who can hang with him in a duel.
But the first time a bravo pulled a pistol on him, the player's eyes widened and he sat back in his chair. His character may be Heaven's gift to fencing, but he ain't bullet-proof.
16. What was the best time you ever had running an adventure you didn't write? (If ever)
Vault of the Drow - it's Dark Shadows crossed with Kingmaker. I love the politics of Erelhei-Cinlu, so the drow were constantly trying to manipulate the adventurers into helping them destroy their rivals.
17. What would be the ideal physical set up to run a game in?
I want to backpack or paddle to some remote patch of wilderness and bust out a roleplaying game around the campfire, then pack or paddle a little further the next day and do it again.
18. If you had to think of the two most disparate games or game products that you like what would they be?
A few days ago I was thinking about an Arthurian horror game using Pendragon and Call of Cthulhu.
19. If you had to think of the most disparate influences overall on your game, what would they be?
Clark Ashton Smith is probably not the first name that comes to mind when you think of swashbuckling adventure, but for my campaign I drew inspiration from the Averoigne stories for the remote province of Auvergne. I wanted the Auvergne of my setting to be like Appalachia, a place out of time with the rest of France, more medieval than modern, inhospitable and disturbing.
20. As a GM, what kind of player do you want at your table?
My ideal player is The Brain: 'Gee, Brain, whaddya wanna do tonight?" "The same thing we do every night, Pinky - try to take over the world!'
The adventure is what you do. So go do something. Preferably something cool.
21. What's a real life experience you've translated into game terms?
What real life experiences haven't I used in game? My campaigns tend to be full of descriptions of places I've been, people I've known, and things I've done.
Perhaps the mose prevalent experiences are those I've racked up from years of backpacking, paddling, caving, and scuba diving. I've been fortunate enough to live, work, and play in some really beautiful, natural places, so I can draw from a lot of memories when describing the landscapes of my settings.
22. Is there an RPG product that you wish existed but doesn't?
A time-space distortion device that would give our whole group more free time to play.
23. Is there anyone you know who you talk about RPGs with who doesn't play? How do those conversations go?
My kids. Right now 'the role game' is something Daddy does with his friends, and it involves the book with the Musketeers on the cover and the bag of cool dice.
Teach your children well, they say.
Labels: personal, Zak S
Now Bring Me That Horizon
So what's all this, then?
I'm a grognard who likes cape-and-sword, swashbuckling tabletop roleplaying games.
So that's what I'm going to blog about.
Posted by Black Vulmea at 4:28 PM No comments:
Labels: introduction, mission statement
Bona Fides
In the fall of 1977, my best friend introduced me to a new game called Dungeons and Dragons. It came in a blue box with a picture of a red dragon on a mound of treasure and two adventurers, a warrior in armor with a bow and a wizard in a pointy hat waving a wand. I was a pretty avid wargamer - board-and-chit, particularly Kingmaker and Third Reich, and metal minis on the sandtable at a local hobby shop - and model builder for a number of years, but this was something new. Instead of a detached commander moving units across a game board on our dining table, I was a fighting man, exploring a labyrinth with a sword and a shield and an empty backpack waiting to be filled with gold and jewels, perhaps from that very same dragon's hoard I saw on the box.
And that's how my fascination with roleplaying games began.
At the time I started, Dr. Holmes' basic set and the Advanced Dungeons and Dragons Monster Manual were TSR's flagship products. The brown box was still around, and we used the supplements as well as related books like The Arduin Grimoire. We were still months away from the release of the AD&D Players Handbook and about a year-and-a-half from the Dungeon Masters Guide. In the realm of fantasy roleplaying games, D&D's competitors were Tunnels and Trolls and Chivalry and Sorcery, but the early hobby was already expanding beyond the fantastic realm to science fiction with Metamorphosis Alpha and Traveller, with its striking black box and the plaintive mayday of the Free Trader Beowulf. In the corners of the hobby were a variety of smaller titles, one of which - Bunnies and Burrows, based on Richard Adams' brilliant novel, Watership Down - I would play often in those early years.
And that was pretty much that. Gamma World and RuneQuest wouldn't appear until the following year. Boot Hill was a tabletop miniatures game; it wouldn't be repackaged as a roleplaying game for another two years. Melee was a skirmish game as well; Wizards was about six months off, and The Fantasy Trip nearly three years away, along with Bushido, Rolemaster, Top Secret, Space Opera, and a host of others.
En Garde! had been around for a year or two when I started playing and buying tabletop roleplaying games. I remember thumbing through it at The War Club, a hobby store in La Cañada near where I grew up in the foothills of southern California. I was intrigued by the idea of roleplaying a swashbuckling swordsman in the vein of d'Artagnan, but part of the appeal of roleplaying games for me was miniature models, and while The War Club stocked Napoleonics and medieval knights and dragons and monsters and starships and spacemen, I couldn't find a single plumed cavalier on the glass shelves in their display cases, so the slim, digest-sized En Garde! went back on the rack.
Fantasy roleplaying games were quickly eclipsed for me by other genres. Boot Hill, Top Secret, and especially Traveller were my favorites, followed in the early Eighties by Mercenaries, Spies, and Private Eyes, Chill, and Flashing Blades. Like everyone else, I played AD&D because, well, everyone played AD&D, but what I enjoyed most was trading on the Spinward Main, or raiding the floating island of Dr. No, or prowling the darkened streets of Mad Mesa. I was never a big fantasy literature fan - through my parents I was introduced to science fiction, particularly Robert Heinlein, and from prowling the sci fi section in our local bookstore I read Professor Tolkien's works, some story collections by Robert E. Howard and Fritz Leiber, and Gordon Dickson's The Dragon and the George. A family friend introduced me to Edgar Rice Burroughs by giving me a half-dozen of his first edition copies of Tanar of Pellucidar and John Carter of Mars novels. Through my dad I picked up an interest in men's adventure - Talbot Mundy, H. Rider Haggard, and Clive Cussler - and Westerns - Louis L'Amour and Zane Grey. When I was about six or seven, I bought a copy of Treasure Island at a garage sale for a nickel, which turned me on to Robert Louis Stevenson, and in sixth grade I did a book report on The Three Musketeers, from an abridged edition released with the classic Richard Lester movies. Fantasy doesn't resonate with me in the same way as science fiction and historical fiction, and my taste in roleplaying games reflects this.
Toward the end of the Eighties I played MegaTraveller, Marvel Super Heroes, and a little Warhammer Fantasy Roleplaying, but by 1989 I was done with roleplaying games. Work and school and the woman who would become my wife took up most of my time, but the truth is, I simply lost interest. Most of my original gaming books - many of them first editions - were destroyed in a flood a few years later. If I could have back a moment in time, it would've been moving my boxes of game books into storage in my parents' loft.
For twelve years I rarely gave tabletop roleplaying games a thought - I missed all of 2e AD&D, all of T:NE, all of World of Darkness - until I moved to Fullerton and (re-)discovered The Game Castle. In 2001 I picked up 3e D&D and started playing again, with a group at Cal State Fullerton. As before, I played D&D because, well, everyone played D&D, but the release of d20 Modern and Mutants and Masterminds opened up opportunities for me to move into the genres I really wanted to play. Around 2005 I had the wild idea of releasing a supplement of stock d20 Modern non-player characters, inspired by 1001 Characters for Traveller. I found a copy of 1001 Characters on eBay, to use as a reference, and flipping through the pages I was struck by how simple and efficient character stat blocks are in Traveller compared to d20 games. It was only a week or two later that I ordered the reprint books from Far Future, and my personal 'old school renaissance' was under way.
In 2008 I picked up an anthology of Robert E. Howard's 'Oriental' stories, historical fiction set in the Near East. One of the stories, "The Shadow of the Vulture," set at the siege of Vienna in 1529, inspired me to track down the Fantasy Games Unlimited cape-and-sword roleplaying game, Flashing Blades, and since 2010 I've been running a campaign set in 1625 France.
But enough about me.
Labels: bona fides, CV, introduction, old man is old, personal
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Home » Lifestyle » United States Now Has the Most Cases of Coronavirus in the World
United States Now Has the Most Cases of Coronavirus in the World
26/03/2020 Comments Off on United States Now Has the Most Cases of Coronavirus in the World
The United States has now surpassed both China and Italy in confirmed cases of novel coronavirus (COVID-19), making it the country with the most cases of the contagious respiratory virus in the world.
According to data from The New York Times, the U.S. has 81,578 confirmed cases, with 1,180 deaths due to coronavirus-related illness, as of Thursday afternoon.
Meanwhile, China has 81,285 confirmed cases, while Italy has 80,539, according to the Times. However, Italy leads the world in deaths from the virus with 8,165.
The majority of the cases in the U.S. are in New York, which has 37,258 confirmed cases of COVID-19 and 387 deaths.
New York City hospitals are struggling to manage the high volume of cases and are in desperate need for medical supplies like masks and ventilators.
New York Governor Andrew Cuomo said Wednesday that he expects the need for 140,000 hospital beds at the peak of the state's crisis — which is more than double the current capacity, according to NBC New York.
Wednesday was the deadliest day in terms of coronavirus fatalities in the U.S. with a total of 223 deaths on that day alone, compared to 164 on Tuesday, according to CNN.
Since the first case of COVID-19 in Wuhan, China, in December, the deadly virus has quickly spread worldwide, prompting the World Health Organization to declare a public health emergency, and later, a global pandemic.
The first case in the U.S. was confirmed in Everett, Washington, in late January in a patient who had recently returned from Wuhan, one of China's largest transportation hubs. The first reported death in the U.S. from coronavirus-related illness came about a month later on Feb. 29, a woman from Washington state in her 50s with pre-existing health conditions.
Washington state now has the fifth-most cases in the U.S. with 2,649 confirmed cases and 134 deaths, according to the Times.
Several states, including New York, California, Illinois, and Washington have issued stay-at-home orders in an effort to curb the spread of the virus.
As information about the coronavirus pandemic rapidly changes, PEOPLE is committed to providing the most recent data in our coverage. Some of the information in this story may have changed after publication. For the latest on COVID-19, readers are encouraged to use online resources from CDC, WHO, and local public health departments and visit our coronavirus hub.
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Possible New MRI Marker for Multiple Sclerosis Progression
BOSTON -- Bright spots commonly seen on T1 magnetic resonance imaging brain scans of multiple sclerosis patients may help predict risk of disease progression, researchers here said.
BOSTON, Aug. 28 -- Bright spots commonly seen on T1 magnetic resonance imaging brain scans of multiple sclerosis patients may help predict risk of disease progression, researchers here said.
The number of these hyperintense lesions was also significantly correlated with physical disability (P=0.04) and brain atrophy (P?0.001), found Rohit Bakshi, M.D., of Harvard and Brigham and Women's Hospital, and colleagues.
The findings of their retrospective study suggest that these lesions could be a new clinically relevant biomarker for multiple sclerosis, they wrote in the September issue of the journal Radiology.
Hyperintense lesions on T2-weighted MRI have been used for diagnosis and monitoring of multiple sclerosis, but the clinical correlations have seemed weak, they noted.
"Clearly, there is a need for better MRI markers of disease activity and tissue damage," they wrote.
So, the researchers retrospectively reviewed a database of 145 consecutive multiple sclerosis patients referred to a community-based comprehensive MS center from 1995 to 1999.
The majority of patients were women (77%) and had relapsing-remitting multiple sclerosis (63%). The remaining 34% had secondary-progressive disease. Those with primary-progressive disease were excluded. The mean disease duration was 9.6 years.
Two researchers blinded to patients' clinical details reviewed MRIs from each patient and found that 78% had T1 hyperintense lesions with a mean of 2.3 lesions per patient.
The lesions were typically seen in the supratentorial regions of the brain, particularly the superior and inferior frontal lobes and the superior parietal lobe.
More than a third of the lesions showed up with uniform hyperintensity (38%), but the majority showed hyperintensity only around the rim of the lesion (62%). The average diameter was 0.8 cm.
Patients with more advanced clinical disease were significantly more likely to have multiple than single T1 hyperintense lesions (P<0.001). The findings were:
71% of patients with secondary progressive disease had multiple lesions whereas only 8% had single lesions.
46% of patients with relapsing-remitting disease had multiple lesions whereas 30% had single lesions.
Total number of T1 hyperintense lesions was also significantly correlated with more advanced disease (P=0.003), although the number of T2 hyperintense lesions was not (P=0.059).
"Thus, only the T1 hyperintense lesion subtype was associated with advancing clinical disease course," the researchers noted.
The same pattern was seen for physical disability and brain atrophy, in which T1 lesions were weak-to-moderate predictors but significant whereas T2 lesions were not.
The researchers found that the total number of T1 hyperintense lesions was significantly correlated with physical disability score on the Expanded Disability Status Scale (P=0.04), whereas the total number of T2 hyperintense lesions was not (P=0.14).
Total cortical brain atrophy was significantly associated with the total number of T1 hyperintense lesions on univariate analysis (P<0.001) and after adjusting for disease course (P=0.001).
Another measure of brain atrophy, third ventricular width, was also associated with the total number of T1 hyperintense lesions on univariate analysis (P<0.001) and after controlling for disease course (P=0.001).
The researchers noted that the findings were limited by the use of various MRI protocols across the retrospectively examined cohort, including inconsistent use of contrast-material enhanced imaging, the cross-sectional design that did not allow study of the evolution of T1 hyperintense lesions, and the lack of a quantitative analysis of T1 hyperintensity or relaxation time.
Prospective studies are needed to evaluate multiple T1 protocols, "to see whether the effect is technically dependent;" to incorporate newer techniques, such as diffusion-tensor imaging and MR spectroscopy; and to assess prediction of clinical progression, they said.
"On the basis of these limitations, we urge caution that the results and conclusion of this study should be treated as exploratory and require confirmation in a larger prospective study," they wrote.
Meanwhile, they suggested that physicians should look for hyperintense lesions on nonenhanced T1-weighted MR images "as these may provide useful diagnostic information."
"For the proper evaluation of the presence of gadolinium-based contrast agent enhancement on contrast-enhanced images," they added, "nonenhanced images should be examined concurrently to determine whether hyperintensity on contrast-enhanced images is related to enhancement or to intrinsic T1 shortening in lesions."


With all the changes in music accessibility and the industry constantly rebuilding itself, one thing that has been evident since the start of the 2010's is the revival of soul and R&B. Adele achieved international stardom with her 2011 landmark album 21 and is still going strong after last year's release of 25. Sharon Jones & The Dap-Kings have risen to new heights after working with the likes of Mark Ronson, and this summer they'll be part of a stacked tour with Hall & Oates and Trombone Shorty. Locally in Boston, Jesse Dee, Ruby Rose Fox, and The Curtis Mayflower have been causing a stir with their energetic live performances, and Brookline native Eli "Paperboy" Reed has been on the rosters of labels like Capitol and Warner Bros.
Another act to include in the conversation is Lake Street Dive. Getting their start in Boston after meeting at the New England Conservatory of Music, vocalist Rachael Price, multi-instrumentalist Mike "McDuck" Olson, bassist Bridget Kearney, and drummer Mike Calabrese are now based in Brooklyn, becoming a "must see" act wherever they go. Tomorrow night (March 23), they'll be performing at the House of Blues in Boston as part of their tour with Houston soul act The Suffers. Vanyaland chatted with Price about making the move to New York, her father Tom Price's work in choral and orchestral music, working with producer Dave Cobb, achieving a rawer sound and what Lake Street Dive's plans are for the summer.
Rob Duguay: What differences do you find between playing live in Boston versus New York City and how was the transition for the band moving their home base to Brooklyn?
Rachael Price: We really cut our teeth and figured out how to be a band from playing at venues around Boston. By the time we started going and playing in New York it was a very different thing. We had something going on in Boston and New York proved to be a little bit more difficult, it was definitely a harder audience to win over. We're actually split up between Brooklyn and Boston nowadays where two of us live in the vicinity of one city while the other two live in the latter. I live in Brooklyn and Bridget does as well, we feel like we're a part of a strong musical community there and our shows there are awesome. We love playing there.
Brooklyn is a fun part of New York City and it's always changing too so it's continuously keeping itself interesting. Whenever you go there, there's something different popping up.
You come from an artistically inclined family with your dad Tom being known for his work in choral and orchestral music. While you were growing up, did your dad have any influence on the way you sing or does it come naturally?
Definitely, he is a huge fan of jazz music which is why I probably started listening to it and got so into it and that was my first influence. Being rooted in the choral world as well I sang a lot of gospel growing up which has a lot to do with how I sing and my interpretation of song.
Last month, Lake Street Dive released their fourth studio album Side Pony. It was recorded at the Sound Emporium in Nashville with producer Dave Cobb who recently has gotten acclaim for working with the new breed of country musicians like Shooter Jennings, Sturgill Simpson, Chris Stapleton and Jason Isbell. What was the experience like working with Dave and recording in Nashville?
It was really exciting. Dave is a producer who has a very unique style to how he produces bands. He does every recording differently, I got the impression that he doesn't like to do the same thing twice. It was really fun, we sort of had to stay super detached from the process that we internally formed as a band and we went with his method. We got into it, got out of our comfort zone and tried out different things. The Sound Emporium is an awesome studio, it's an iconic, old studio and a lot of amazing recordings have been done there. There was a great vibe and we loved it.
The album shows Lake Street Dive getting into even more of that raw, vintage '60s-inspired soul and R&B sound that we've come accustomed with. There's also a bit of an electric edge on a few tracks as well, especially with Mike Olson's skills on guitar. What made the band want to go this route? Did Dave have any influence on that?
Definitely, yeah. We recorded most of the album all live in one room and we didn't do a ton of takes. He doesn't like to overdo a song, he wanted to capture that spark of inspiration that happens when you start playing a song the first few times. We also did a lot of overdubbing and experimenting with sounds after we were doing the initial raw take. We didn't rule out any sort of sound or idea. When someone had an idea we just gave it a shot to just lay it down and hear it.
I love when bands record live and you can tell that with each track off of the new album, it has a very organic feel to it.
After tomorrow night's show at the House of Blues, this current tour with The Suffers and with the weather warming up, what are Lake Street Dive's plans for the summer?
We're going back to Europe in the spring and when summer rolls around we'll be doing some festivals and a lot of outdoor pavilion summer shows, that type of thing.


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Abigail Altland '21 is currently enrolled in a master's degree program for Intercultural & International Communication at American University School of International Service.
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So you've just got engaged, Hoorah! What's next?
Planning a wedding can sometimes feel like treading through a minefield as you both have so many ideas and it can be difficult pulling them together and making a real start. Here are some handy hints and tips to get the wheels in motion and successfully plan a stress free wedding day.
Every wedding planning journey is different but there are certain checkpoints that every couple should tick off their checklist first before moving onto the finer details. Having a priority list helps to reduce everything into bite sized chunks. This approach allows you to solely focus on one job at a time. Complete it and then move onto the next so that you don't overcrowd your mind too much. The initial planning is worth its weight in gold for peace of mind later on.
When writing your guest list keep in mind that including more guests in your wedding plans means higher prices. Rising numbers will require extra furniture, Tipis and catering costs are generally calculated on a per-head basis. So your budget will have a BIG influence on the size of your guest list.
Sit down with your families and decide how much you can afford and whether family would like to contribute to your special day? Be realistic, your budget will affect every decision about how you plan your wedding and purchases you make, so be sure to work out your budget before you start planning. Setting a date one or two years away also gives you maximum time to save. At Sami Tipi you also have the option to set up a monthly direct debit.
Have a think about what's really important to you and work from there. Once you have your ceremony, date and venue in place everything else should follow suit and you are now ready to build your wedding day from there.
When planning a wedding we often don't think about insurance, but it's a lifesaver on the rare occasion that something does go wrong. Organising a wedding can take months of planning and a large amount of money so it's really worthwhile protecting yourselves. Most policies will cover you if you have to cancel your wedding and there will be a certain limit available which will be paid out to you if this is the case.
Last but not least enjoy it! Planning your wedding should be a happy time where both of your plans and ideas come together for one almighty celebration, the celebration of YOU. Sometimes family and friends might not see eye to eye and guests might not always like your choices but ultimately it is your day so have everything that you love, don't sacrifice it for anyone. This is your one shot to build a day that represents you as a couple, something that you will hopefully cherish for the rest of your life. Do it once, do it right.


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Stefan Ingves
This author does not work for the BIS.
BIS research papers Speeches
BIS research papers
The future of central banking under post-crisis mandates
Other authors: Stephen G Cecchetti, Alexandre Lamfalussy, Jaime Caruana, Mark Carney, Andrew Crockett, Lucas Papademos and Duvvuri Subbarao
BIS Papers | No 55
Stefan Ingves: Long-term trends - important elements in the monetary policy analysis
Speech by Mr Stefan Ingves, Governor of the Sveriges Riksbank and Chairman of the Basel Committee on Banking Supervision, to the Swedish Economics Association, Stockholm, 7 May 2019.
Stefan Ingves: The e-krona and the payments of the future
Speech by Mr Stefan Ingves, Governor of the Sveriges Riksbank and Chairman of the Basel Committee on Banking Supervision, at the conference "DI Framtidens betalningar", Stockholm, 6 November 2018.
Stefan Ingves: Money and payments - where are we heading?
Speech by Mr Stefan Ingves, Governor of the Sveriges Riksbank and Chairman of the Basel Committee on Banking Supervision, at the Stockholm School of Economics, Stockholm, 4 June 2018.
Stefan Ingves: Monetary policy in a new environment
Speech by Mr Stefan Ingves, Governor of the Sveriges Riksbank and Chairman of the Basel Committee on Banking Supervision, to the Expert Group on Public Economics, Stockholm, 5 March 2018.
Basel III: Are we done now?
Keynote speech by Mr Stefan Ingves, Chairman of the Basel Committee on Banking Supervision, at the Institute for Law and Finance conference on "Basel III: Are we done now?", Goethe University, Frankfurt am Main, 29 January 2018.
Stefan Ingves: Do we need an e-krona?
Speech by Mr Stefan Ingves, Governor of the Sveriges Riksbank and Chairman of the Basel Committee on Banking Supervision, at the Swedish House of Finance, Stockholm, 8 December 2017.
Remarks given at IADI conference on "Designing an Optimal Deposit Insurance System"
Keynote address by Mr Stefan Ingves, Chairman of the Basel Committee and Governor of Sveriges Riksbank, at the IADI Conference on "Designing an Optimal Deposit Insurance System", Basel, 2 June 2017.
Stefan Ingves: Monetary policy challenges - weighing today against tomorrow
Speech by Mr Stefan Ingves, Governor of the Sveriges Riksbank and Chairman of the Basel Committee on Banking Supervision, to the Swedish Economic Association, Stockholm School of Economics, Stockholm, 16 May 2017.
Finalising Basel III: Coherence, calibration and complexity
Keynote speech by Mr Stefan Ingves, Chairman of the Basel Committee and Governor of Sveriges Riksbank, at the second Conference on Banking Development, Stability and Sustainability, Santiago, 2 December 2016.
Reflections of a Basel Committee Chairman
Keynote address by Mr Stefan Ingves, Chairman of the Basel Committee and Governor of Sveriges Riksbank, at the 19th International Conference of Banking Supervisors, Santiago, 30 November 2016.


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Actualia
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25. September 2017 · Actualia (engl.) · DBG · Internat. Botanikertagung
Welcome address: fruitful collaborations
He illustrated how important it is for successful scientists to collaborate. He therefore encouraged all participants to enjoy the possibilities offered by the Botanikertagung and the big network of the DBG. He thanked all speakers and poster creators, the conference chair, Professor Karin Krupinska and her team, who invited many Danish Colleagues, and all the people and institutions who contributed to the conference.
Read his whole welcome address (incl. another figure)
Dear participants of the Botanikertagung 2017 in Kiel,
on behalf of the Deutsche Botanische Gesellschaft, the German Society for Plant Sciences (DBG), I cordially welcome you to the Botanikertagung 2017, our biennial international conference. Our colleagues from Kiel have organized this conference on the topic Plant Research in a Changing World. Plant Science is a dynamic research field in the core of the needs of our society. Two years back in München, I opened the Botanikertagung with the perspective that the Vereinigung für Angewandte Botanik will be reunited with the DBG. Indeed this merging has been completed and since then our society has an additional Section for Applied Botany dedicated to plant biotechnology. With this and together with the research fields covered by the sections for Biodiversity & Evolution, Interactions, Natural Products, Phycology and Physiology & Molecular Biology, the DBG has emphasized its aspiration to function as the leading and comprehensive scientific organization dedicated to plants in German speaking countries.
Our ability and vigor as society depends on you as members. Please visit our booth to inform yourself about our activities. Become a member to strengthen the plant sciences, to support young scientists, to facilitate outreach in the society and to decision makers, and also to expand your own network. Plant research increasingly is a collaborative effort, regularly involving international cooperation. Therefore I am very happy that our president of the meeting, Prof. Karin Krupinska, has organized this Botanikertagung in close interaction with her colleagues from Denmark, particularly from Copenhagen. We are going to listen to many contributions from eminent Danish researchers. The DBG followed this idea of a joint meeting with a neighboring country before. But this time it will be the first meeting realizing the concept of including a non-German speaking country in a somewhat preferred and focused manner. Thanks to Karin Krupinska for your effort to successfully implement this idea. I expect this to be a fruitful development of our Botanikertagung.
The need for strong interactions and elaborated networks in plant science becomes evident when considering author lists of past and present publications. I analyzed the lists of authors of publications in the journal Plant Physiology that appeared in July and August of 1977, 1987, … until 2017. As you can see from the graphic: the average number of authors on a Plant Physiology paper in 1977 was 2.4. This number increased from decade to decade and has reached 6.8 in 2017. In addition the number of papers with long lists of authors has increased from decade to decade. Apparently, the ambition of the authors and the journal to cover a broad range of approaches and different methodology in each single paper has led to an increase in the number of contributors. This is telling us that successful networking, proper identification of suitable partners and efficient execution of the project is important, often more than ever, to push plant science. For this reason, I am convinced that meetings like the Botanikertagung with ample opportunities to build and expand the personal network play a central role in shaping the future of science.
My deep thanks go to you, Karin Krupinska as president of this meeting, your colleagues and the local organizing committee, the University of Kiel and all other supporters. You have enabled this meeting with a first class program in the field of plant science reaching from ecology, plant physiology, cell biology to molecular biology and genetics. Dear participants, as early-career scientist or leading expert from a wide range of disciplines in plant biology, you have followed the invitation of our colleagues. You are going to present talks or posters, discuss your recent results, search for new insight or cooperation, and build your network. I am convinced that the scientific and accompanying program provide the rich setting for an inspiring time. I wish you a splendid experience, a scientifically successful meeting and an enjoyable stay in Kiel.
Karl-Josef Dietz encouraged the participants to expand their networks. Photo: esw
Average number of authors per paper in the journal Plant Physiology. The papers appeared in July and August of the years as indicated. The grey area marks the range, the individual numbers the highest numbers of authors. please click to enlarge
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Quantified expressions provide a way to write universally and existentially quantified predicates over containers and arrays.
Wherever the Syntax Rules allow an expression, a quantified_expression may be used in place of the expression, so long as it is immediately surrounded by parentheses.
The expected type of a quantified_expression is any Boolean type. The predicate in a quantified_expression is expected to be of the same type.
For the evaluation of a quantified_expression, the loop_parameter_specification or iterator_specification is first elaborated. The evaluation of a quantified_expression then evaluates the predicate for the values of the loop parameter in the order specified by the loop_parameter_specification (see 5.5) or iterator_specification (see 5.5.2).
If the quantifier is all, the expression is False if the evaluation of any predicate yields False; evaluation of the quantified_expression stops at that point. Otherwise (every predicate has been evaluated and yielded True), the expression is True. Any exception raised by evaluation of the predicate is propagated.
If the quantifier is some, the expression is True if the evaluation of any predicate yields True; evaluation of the quantified_expression stops at that point. Otherwise (every predicate has been evaluated and yielded False), the expression is False. Any exception raised by evaluation of the predicate is propagated.


Glass Sword, the second book in the Red Queen series by Victoria Aveyard is one hell of a ride from start to finish. It is evidently quite the rollercoaster, considering the sequence of events.
First off, if you haven't read my review of Red Queen, the first book in the series, you can find it here. Some of the thoughts expressed there are resounded here. Even still, a number of things have changed.
In this second book, Mare Barrow and Tiberius Calore are on the run from the vindictive king Maven. Their only refuge now is the even stranger Scarlet Guard and it's connections. Mare and Cal along with Farley, Kilorn and Shade begin the search for the newbloods in Julian's list. But Mare isn't the same anymore. Everything that she has been through changes her, and that change is indeed costly.
As I said in the opening paragraph, this book is a rollercoaster. At some points I could cheer for their little victories. And at others, my heart was particularly heavy. Especially in the concluding chapters with all that happened to Mare and those around her. I actually felt pity for the person she had to become to survive and to save others.
It is evidently well written, as characters and events and places were clear and detailed. There were hardly any parts that I had to go back and read. Save for paragraphs where I literally couldn't believe what had just happened. Those claimed a couple rereads.
The book does well to show Maven's evil side and what he can do now as king. He puts a lot of that power to use, stopping Mare and her team in somewhat gruesome ways. But of course, that causes Mare to adapt and it starts to look like a game of chess until the board tips.
There are quite a lot of new characters in this part of the series, but they are all well managed. So much so that none feels misplaced or unnecessary. They all kinda fit snugly until it's their time to shine. Unlike in the Grisha trilogy, that is not a pun.
Notably, this book doesn't skip on most of what the first book was known for. There's magic – in the form of abilities – and emotion, suspense, and really a lot of unpredictability. Or maybe I was too turn-happy to notice the last one. Either way, this book brings a lot to the table. And doesn't really disappoint.
Overall, it was an intriguing read albeit fantastical, and one I wouldn't have trouble recommending. Fair warning, that ending is jarring. But what would it be if not?
Thank you for reading my review of Glass Sword by Victoria Aveyard. Make sure to leave a like if you enjoyed this post. Also, maybe, if possible *wink wink* share this review *wink wink*. Don't forget to subscribe so you don't miss new posts, and as always, have fun reading!


text:
Education Rates Advance Among New Immigrants
April 3, 2017 January 6, 2020 / Immigration Direct Blog / By Immigration Direct
Immigrants who've arrived in the United States in the last five years tend to be more educated than their predecessors. The uptrend in education levels among immigrants corresponds with a decrease in Latin American numbers and a rise in the Asian immigrant demographic.
The data, which was compiled as part of a study commissioned by job search company Indeed, relies on the U.S. Census Bureau's American Community Survey. Reports on the study describe general consensus among economists regarding an overall positive effect immigration impacts on the money, finance, and commerce At the same time, the debate on the topic continues in terms of immigrant workforce and native-born workforce competition. In particular, according a company statement, the study's emphasis is in exploring "jobs that immigrants do today, with a particular focus on recent immigrants, as a guide to which occupations, workers, employers, and consumers might be most affected — for better or for worse — by future changes to immigration policy."
Only one-third of immigrants in the past five years were born in Latin America, compared to 45 percent born in Asia. These numbers trend with "much more likely" cases in which immigrants hold a bachelor's degree than immigrants who arrived to the United States more than five years ago.
In terms of occupations, "the broad sectors and narrow occupations with the highest shares of recent immigrants look quite different than those with the highest shares of immigrants overall," according to the report.
As far as broad occupation sectors– farming, forestry, and fishing– immigrants make up a particularly significant part of the workforce. At the same time, the next two sectors accounting for the highest share of immigrant workers are computer and mathematical occupations and life, physical and social sciences.
Specific occupations with a prevalence of immigrants are professional or technical in nature. These include medical scientists, software developers, physical scientists, and economists.
Study researchers found a positive and "statistically significant" correlation between the share of immigrants and the share of native-born working-class white men. Perhaps more interesting is that researchers also found the "correlation effectively disappears when including only recent immigrants."
A look at settlement areas between contemporary immigrants and those who arrived in the first decade of the twenty-first century. For example, traditional metropolitan areas with a strong immigrant population– Los Angeles, Riverside – San Bernardino, and Las Vegas– are not among the top cities of choice for recent immigrants. Instead, new immigrants are choosing to live in Boston, Seattle, and Dallas. And while the overall share of immigrants in Miami is larger than that of any other large metropolitan area, San Jose, which includes the tech titan neighborhood of Silicon Valley, gets the title among new immigrants.
Recent immigrants, according to the report, "are likely to live in more expensive metros that offer more professional jobs than earlier immigrants did."
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Synopsis: Angry young man Velu Thondaiman, affectionately known as "Thambi" fights against all types of evils in the society. He keeps running into Sankara Pandian, a political henchman who rules the city with violence. Thambi is determined to overcome Sankara Pandian's activities in the society and his fearless attitude brings fear into the face of Sankara Pandian's gang. Thambi thwarts Sankara Pandian's terrorizing plans with the help of his close associates. At this very moment, a flashback unravels how Sankara Pandian's gang kills Thambi's family after Thambi identifies the killer as Sankara Pandian's brother Saravana Pandian. As the Police now close in on the thugs by means of "encounters", Sankara Pandian starts riots within the city to topple the internal government, so he can achieve power as a member of parliament. But, in the riots, Sankara Pandian's daughter and mother are caught and Thambi saves them single-handedly. As Sankara Pandian is turning into a new leaf, his brother Saravana Pandian is released from prison and he is out to avenge Thambi.


text:
Q: i want that client can send private message also from a broadcast server socket python i have made a broadcast server and client both and i have used a message as command like @private to work as a command and and that will list all users and then i want that it should select one of them and then it can only chat with those client only which he as selected and on the backend broadcast also work for others
server()
# import socket programming library
import socket
import time
# import thread module
from _thread import *
import threading

def chatwithtwo(c,username,numusr,data):
            c.send("choose to which one you wanna chat".encode())
            for i in range(len(username)):
                select=f"{i}. {username[i]}\n"
                c.send(select.encode())
            #here the thread gives problem
            select_username=c.recv(1024)
            print("select:",select_username.decode())
            try:
                if username[int(select_username)] in username:
                        chat_two_display(numusr,c,clients[int(select_username)])
                else:
                    c.send("wrong selection".encode())
            except:
                c.send("wrong input".encode())
            lock.release()
def chat_two_display(numusr,c,recver):
    sendcheck={}
    while True:
        data = c.recv(1024)
        sendcheck[numusr]=c
        for i in range(len(clients)):
            if clients[i]==recver:
                send_to=usernames[i]
        print(f"[+] {numusr} --> {send_to}:- {data.decode()}")
        chat_two_send(numusr,data.decode(),recver)
def chat_two_send(numusr,data,recver):
    sendingtoall=f"[+] {numusr} (private):- {data}"
    recver.send(sendingtoall.encode())

def send_data(numusr,senddata,clients,sendcheck):
    lock.release()
    for i in range(len(clients)):
        if not clients[i]==sendcheck[numusr]:
            sendingtoall=f"[+] {numusr}:- {senddata}"
            clients[i].sendall(sendingtoall.encode())
def display_data(c,numusr):
        global lock
        lock=threading.Lock()
        sendcheck={}
        while True:
            time.sleep(0.5)
            data = c.recv(1024)
            sendcheck[numusr]=c
            print(f"[+] {numusr}:- {data.decode()}")
            lock.acquire()
            if data.decode()=="@private":
                #thread.acquire()
                chatwithtwo(c,usernames,numusr,data)

            else:
                send_data(numusr,data.decode(),clients,sendcheck)
# thread function
def threaded(clients,username):
    for i in range(len(clients)):
        threading.Thread(target=display_data,args=(clients[i],username[i])).start()
def username_check(c):
    while True:
                uname=c.recv(1024)
                if uname.decode() not in usernames:
                    datatosend=f"your username is {uname.decode()}"
                    usernames.append(uname.decode())
                    clients.append(c)
                    c.sendall(datatosend.encode())
                    break
                else:
                    c.send("[-] This username is alredy in use!!!".encode())

def Main():
    host = "127.0.0.1"

    # reserve a port on your computer
    # in our case it is 12345 but it
    # can be anything
    port = 8000
    s = socket.socket(socket.AF_INET, socket.SOCK_STREAM)
    s.bind((host, port))
    print("socket binded to port", port)

    # put the socket into listening mode
    s.listen(5)
    print("socket is listening")
    global clients
    global usernames
    global threads
    clients=[]
    usernames=[]
    threads=[]
    connectio(s)

def connectio(s):
    while True:

        # establish connection with client
        c, addr = s.accept()

        # lock acquired by client
        print('Connected to :', addr[0], ':', addr[1])
        username_check(c)
        # Start a new thread and return its identifier
        threaded(clients,usernames)

if __name__ == '__main__':
    Main()

client()
import socket
import threading
import time

def send_data(s):
    while True:
        message=input("")
        s.send(message.encode('ascii'))
        time.sleep(0.5)
        if message=="close":
            s.close()

def display_data(s):
    while True:
        data = s.recv(1024)
        print(str(data.decode('ascii')))
        time.sleep(0.5)

def Main():
    # local host IP '127.0.0.1'
    host = '127.0.0.1'

    # Define the port on which you want to connect
    port = 8000

    s = socket.socket(socket.AF_INET,socket.SOCK_STREAM)

    # connect to server on local computer
    s.connect((host,port))
    while True:
        username=input("enter your username which should be unique:-")
        s.send(username.encode())
        username_check=s.recv(1024)
        print(username_check.decode())
        if username_check:
            if username_check.decode()!="Try again":
                break

    # message you send to server
    threading.Thread(target=send_data,args=(s,)).start()
    threading.Thread(target=display_data,args=(s,)).start()
    # close the connection

if __name__ == '__main__':
    Main()

i have called a function for it that is chatwithtwo() but the problem is when select_username variable is receiving the value other threads also work at the same time all that get messed up please help me out in that

A: Just remove your for i in range(len(clients)): this from threaded function and all done
it will run your thread every time a client will connect to the server like if one client is connected then it will run for 1 time threads=1 running then the second time will run then its value will be 2 and the loop will run twice and the thread value fill get added to the last one like now running thread is 1 and after loop 2 more will be added and now threads are 3 and so on.

redpajama_set_name: RedPajamaStackExchange


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Casserole, from the French word "casse" meaning "case," is a large, deep, lasagna-like dish. This is important to know, because it means that literally any amount of food you heap into a deep dish can technically be called a casserole. So, open your mind and prepare for 10 of the yummiest breakfast casseroles ever made.
This is a great breakfast dish because it combines all your favorite breakfast foods. Sausage, bacon, eggs, hashbrowns, peppers, onions….they're all there.
This soft, easy-to-make casserole can be cooked up in 40 minutes.
This casserole has a little bit of everything. It's got ham and cheese, but at the same time it doesn't skip on the veggies with a hearty serving of broccoli.
If you would rather wake up and sink your teeth into something a little sweeter, this peaches-and-cream casserole is perfect for you.
Alright, so this is technically called a casserole, but in all seriousness it's really just apple crisp. You're an adult though, and one of the great things about being an adult is you get to call this delicious dish a casserole and not feel guilty about eating it at 7 A.M.
Perhaps the simplest casserole on the planet, this dish only takes about five minutes to put together. Seriously! It should take you longer to preheat your oven than to prepare.
While this is technically a frittata and not a casserole, it's just too good not to be included. With tomatoes, herbs, and a three-cheese Italian blend, this "casserole" will have you skipping lunch.
The breakfast enchilada, otherwise known as the Spanish casserole, is a great dish that lets you freestyle with your toppings. Mix and match until you have the perfect creation.
This casserole will keep any vegetable enthusiast coming back for more.
For those who crave a more hearty morning meal, this biscuits and gravy casserole is for you. The biscuits have a way of soaking up the gravy that will make you tremble.