29 January 2023

The Bird Site Massacre

Victims of the Bird Site Massacre

So, as I feared, the worst was confirmed; Twitter deliberately killed off the third party clients without notice, despite their helping drive the service's development and often being used by the more active users. Twitterrific and Tweetbot and more gone without warning to company or users. Twitter's developer terms and conditions retroactively changed to make such services unacceptable. 

Confirmation of death - Twitterrific
Confirmation of Ollie's demise

This made the decision to leave the bird site quite easy for me; I exported archives of my data (which come as a funky HTML set up so you can explore them and closed down both my accounts. They'll auto delete in less than a month. The BITS Traveller account is still there but we're discussing what to do with that (and, to be honest, it's mostly been dormant since the pandemic hit). So if you want to find me on social media, you can hook up with me on Mastodon, where I'm on the Dice Camp server using my usual Cybergoths tag (something from university, don't ask!).

It was a strange feeling killing the accounts. I opened the private one on Friday 3 April 2009 at 7:24 in the morning and closed it at 21:40 on 22 January 2023. The public account was started later - Sunday 5 June 2011 at 10:14 - and closed last at 12:19 on 26 Jan 2023. They've been there a while, but increasingly had less value and engagement as the algorithms that drive toward contention made Tweeting more and more like shouting into the void. Twitterrific combated that, but the reduced API access that the application got over time didn't help the bird site be more approachable. Functionally, Twitter has been dying for me for quite some time, so I guess I should thank Space Karen for pushing me over the line to decide to leave. To be honest, using the official Twitter app and website made it clear it wasn't for me anymore.

Failing Twitter Engagement

The failure of Twitter on engagement was shown by a Mastodon toot by Ged Maheux, one of the Iconfactory team. They've 16.1k followers on Twitter and 4.1k on Mastodon. They tweeted the same material on both sites and got 9 likes and 3 retweets on Twitter and 287 favourites and 163 boots on Mastodon. Others are reporting the same.

I like what I see on Mastodon, especially now Tapbots have released Ivory, a Mastodon app for iOS which uses their experience on Tweetbot to create an excellent application which is actively being developed. The basic Mastodon app was fine, but Ivory jumps it to another level. Mastodon reminds me of early Twitter crossed with Google+, which is a good thing. I do get a bit annoyed with some of the others who have fled from Twitter or are hedging their bets on both sites who keep on using Twitter conventions and posting Tweets. I don't want Mastodon to just be another Twitter, I want it to be it's own thing.

Project Phoenix - Twitterrific
Project Phoenix About dialog box.

I do hope that The Iconfactory re-enter the space using their experience from Twitterrific but Tapbots are also doing a great job and winning me over. I had a connection to Twitterrific because it was how I discovered Twitter, and I'd also backed the Kickstarter to update the macOS version of the app to match the iOS one.

Thank you to The Iconfactory for 14 years of excellence, and thank you to Tapbots for making the jump to Mastodon and bringing a great experience.

Let's see where the herd takes us. 

29 January 2023

28 January 2023

A fork in the road

A Fork in the Road - CC-BY 2.0 (Attribution Generic)

Last night, Wizards of the Coast finally started to get ahead of the crisis curve that has engulfed them since #OGL 1.1 leaked less than a month ago. They announced that OGL1.0a was not going to be removed (thus avoiding the potential for litigation had they done so) and that the entire D&D 5.1 system reference document was being released under a creative commons licence. They did this in the post, with a linked file. That sent a shockwave through the community as people hadn't expected Wizards to roll back this far, this quickly. Now, it's arguable that Wizards didn't actually have the rights to licence some of the material that's in the SRD (as it isn't copyrightable in principle) but in placing it into the commons, they've taken a lot of ambiguity away for third parties. 

Wizards' crisis communication and public relations throughout this has been a disaster, and the whole affair has cost them goodwill and trust. It also cost them financially; many people have cancelled D&D Beyond subscriptions, a lot of people have bought alternative games (for example Pathfinder and Paizo selling huge amounts of stock) and much of the third party industry has started a move away from the OGL to either new systems or careful use of language to avoid infringement.

So we won, right?

From a certain perspective, I think we did. I expect to see most of the industry drop the OGL (even on legacy documents) and switch to the Creative Commons SRD. This is a smart thing to do, because it avoids any risk of a repeat from Wizards of the Coast or another, future, IP owner. This secures livelihoods and allows third parties to release material without fear. The SRD also includes terms which weren't there before (like Strahd, Mind Flayer and Beholder) and were withheld as D&D IP(*).

However, I think this is a fork in the road.

The senior leadership at Wizards is committed to a video-game like future, with micro-payments and increased monetisation. A good section of the existing player-base may not follow the pivot to this as OneD&D is released, preferring to stick with pen, paper and dice even if played over the current generation of VTTs. 

Imagine a future when all new D&D releases are digital and you can't use them beyond Wizards VTT ("We've made it easier by hiding all the rules and stats - you just tell it what kind of test you want"). Imagine a future when Wizards remove D&D5e compatible material from D&D Beyond in favour of OneD&D. And by remove, I mean stop you having access to the material you've paid for. They'll sweeten it of course, probably giving access to the new core rules for free if you own the older version, and perhaps discounts on settings. Imagine them pulling the plug for material you've bought on other platforms like Roll20(**)?

Doesn't feel likely? Remember that they did this before with PDFs on RPGNow without warning. The current D&D Beyond terms allow them to do this.

2.1. License. Subject to your compliance with these Terms, Wizards provides you a limited, personal, non-exclusive, nontransferable, non-assignable, fully revocable license to use the Websites and Services solely for your individual and non-commercial use. Wizards may terminate or suspend any or all portions or features of the Websites, Games, or Services at any time and for any reason or for no reason with no liability to you. This license does not give you any ownership rights in the Websites, Games, or Services. Any rights you do acquire in the aforementioned will forever be owned by and inure to the benefit of Wizards, and as applicable, its successors and assigns.

Think of the SRD passing into Creative Commons as a parting gift; we can play on, do our own things, but the brand of Dungeons & Dragons may be going somewhere else, somewhere the current management (who aren't role-players but video-gamers) think that you'll have more fun and that will make them more money.

28 January 2023

(*) I wonder if this was unintentional, as the release may have been rushed?

(**) Roll20's Marketplace FAQ suggests that Wizards can't pull material you've paid for if they remove it from sale, but we don't know what the commercial terms are between the two companies (which incidentally includes DriveThruRPG).
 

19 January 2023

Winter has come

Winter has arrived

Away with work in deepest darkest East Anglia at the moment; glorious skies last night with a fantastic view unimpeded by clouds or light pollution meant a deep frost this morning. Winter has definitely come.

19 January 2023

15 January 2023

Wizards with Loot Boxes

Monetising your Dungeon with special loot boxes
Attribution 2.0 Generic (CC BY 2.0) Dom Mooney


I’m not especially good at art, but I wouldn’t be surprised if Wizards tried something like the above if they monetise D&D with loot-boxes. (Sketched on my reMarkable 2).

Original image here: https://flic.kr/p/2obCPcC

On the OGL fiasco

Wight Fight
This would probably go away with OGL 1.1 
 
It’s been a messy week or so in the tabletop roleplaying space, ever since Gizmodo published a leak of Wizards of the Coast’s planned update to the gaming licence that’s used by most third party publishers of Dungeons & Dragons compatible material. Of course, the reality is that in many cases, publishers don’t really need to use the OGL (Open Gaming Licence) but it made them confident that they could publish material without the risk of litigation. The freedom of the OGL has driven a vibrant community which has lifted the game as a whole, with a variety and breadth of material that has driven creativity and engagement. All the messaging from Wizards (confirmed by the former leadership team) was that the OGL was not revokable and that publishers could trust them and help them grow the game. 

The proposed changes meant that reasonably small publishers would be reporting their D&D turnover and paying 25% of their turnover to Wizards going forward. That’s enough to make most businesses no longer viable. The previous version of the OGL was also being revoked by Wizards, which meant that (1) old material would need to be removed and (2) the changes would also impact third parties with completely different games that let other publish for them because they’d used the OGL(*). Finally, Wizards also claimed the rights to use material that you created using the new licence for free.

(*)The OGL is copyright by Wizards so if they withdraw it, it can’t be used anymore.

Understandably, uproar has followed and Wizards have had a corporate comms disaster on their hands as they’ve managed to motivate a large part of their customer base with anger and frustration. They’ve not managed the crisis comms well, and other publishers have stepped into the space. Legal views have been taken and routes around the OGL based on fair use and case law mean that Wizards are losing control of the narrative and market. It doesn’t mean that D&D won’t be the biggest game in the industry, but it does mean that years of work on its image have been undermined, goodwill burnt and trust broken.

I came back to D&D with the fifth edition. D&D was my second roleplaying game; I started with Holmes Basic, moved to AD&D and then the second edition. I actively ran games (although it was never my true love; that space in my heart stays with Traveller) and enjoyed it. But I enjoyed Stormbringer and Pendragon more. I played a bit more D&D with D&D3e was released, but never ran it. I stepped away again with 3.5e, and didn’t notice the release of 4e (which First Age tells me is the best thing since sliced bread). I saw a lot of good stuff about fifth edition, enough that I bought it and realised I could see echoes of the game I used to play, modernised.

I’d toyed with returning to Ravenloft or running some older school dungeons for a while, and toyed with the idea of using Dungeon World or another retro-clone (at that time Labyrinth Lord, these days it’d be Old-School Essentials). I picked up Curse of Strahd and definitely wanted to run it (Dr Mitch worked his magic on me and told me to run it), and I was looking for a system. In the end I decided to follow the easiest path and use D&D5e.

Now I find myself nearly 60 sessions into a campaign, and comfortable to run the game with minimal reference to the D&D5e rules. Along the way, I’ve bought a lot of material from Wizards. I’ve also picked up the official Roll20 and DnD Beyond versions of the rules and was considering a Beyond subscription. I’d started to ponder running a shorter set of adventures after Curse of Strahd.

Where my head is now is that I will finish Curse of Strahd and take a break. I don’t think I’ll be picking up anymore Wizards books for quite some time, especially as I fully expect the digital versions I’ve picked up to be withdrawn once the mythical OneD&D is released. I do like (rather than love) fifth edition, but there’s a bad taste that I suspect would only be solved with an updated OGL that makes it impossible to pull this kind of chicanery again. I have more than enough material for this edition to play going forward without paying Wizards more.

As I finish this post, I reflect that the response posted by Wizards is disingenuous, demonstrably flexible with the truth (based on multiple sources) and frankly patronising. I don’t buy into their micro-transaction future; this isn’t a video game. As a customer I’m disappointed. As a friend to several publishers who use the OGL, I’m angry. Wizards of the Coast need to do better.

15 January 2023 

Farewell Twitterrific?

 

Ollie is sad…

About 48 hours ago, the primary way that I access Twitter shutdown. The venerable but still sprightly Twitterrific iOS app lost its API connections that allow it to talk to Twitter. It appears to be a deliberate move from the social media site, but there have been no announcements or communication to the developers. Previously, when the API got changed to limit some functionality to Twitter’s own applications, the developers were briefed in advance. This time, nothing. The only reason it’s thought that it’s a deliberate choice is that there have been leaks from Twitters internal comms. The changes affect the most popular third party connections; Tweetbot as also down. Ironically, at the moment, the macOS version of Twitterrific still works.

It’s suspected that if deliberate, the disconnection happened because the apps allow you to see a linear timeline without promoted posts and advertising driven by the algorithm that now drives the feed that Twitter gives you. Of course, that was the attraction of these apps. Ironically, the previous changes to Twitter’s APIs meant I have their app installed too because it’s the only way to get notifications. This means I get to use their UI pretty regularly, get shown the adverts etc so the reality is that the company isn’t really loosing out.

I’ve loved using Twitterrific; it was an app I got into when I first got into Twitter and had recently become a dad. We used to have Saturday Morning Dad’s club chats on it and more. It has a lovely interface and I will miss it. I’d started to move away from Twitter to Mastodon anyway (which feels like a lovely blend between Google+ and Twitter) and this will only accelerate that move. Once the macOS app goes, so am I (but I’ve left a trail of breadcrumbs in my usernames on Twitter).

As well as its great UI, Twitterrific actually invented the term tweets and created a bird logo which inspired Twitter’s own. It’s an app intimately tied to the history of the service, and it seems almost apt that as the new owner of Twitter burns it down, Twitterrific disappears into memory lane, much loved and missed.

I do hope that the Iconfactory produce an Olliphant app for Mastodon.

Farewell, and thank you.

15 January 2023

Edit: it was deliberate. They killed the entire third party client ecosystem.

05 January 2023

First Impressions - Blade Runner: The Roleplaying Game - Core Rules

Blade Runner: The Roleplaying Game Core Rules
Neon-Noir at its finest.

Blade Runner: The Roleplaying Game has been one of Fria Ligan's most successful kickstarters and has been very much anticipated. That included myself as the original film is my all-time favourite SF-film.

I played the introductory adventure from the starter set over two slots at Furnace in October 2022 and I liked what I saw. The Core Rules are hardcover, 232 pages long and gloriously illustrated by Martin Grip who has absolutely nailed the vibe of the films. The book is full colour throughout and very dark. The level of illustration means that it isn't information dense, and it makes an easy read. It has multiple content warnings about the themes of the book, but hopefully you knew this if you've seen the movies.

The game engine uses an evolved version of the Year Zero Engine. Multiple dice sizes are used. Skills and Attributes are rated from A to D, where A is a D12 and D is a D6. In most cases, you roll a pair of dice. you're looking for 6+ (one success) or 10+ (two successes) on each dice. There is a push mechanic to try and increase your stress levels: you can't re-roll 1s, and on a push you get a point of damage or stress for every 1 showing, dependent upon the attributes being used. Replicants can push twice (representing their enhanced capabilities) but they don't take damage; everything is taken as stress. This means they're harder to hurt but mentally more fragile. Advantage and disadvantage is used; advantage adds a second dice of the same type as your lowest, disadvantage takes away the lowest. When helping, a character gives their colleague their skill base die to roll. Overall, the system feels slicker and less swingy than the base Year Zero Engine and characters feel more competent.

Characters are Nexus-9 replicants or humans assigned to the Replicant Detection Unit of the LAPD. They're built using archetypes tailored with skills. The archetypes are recognisable from the films and anime TV-series. Analysts, City Speakers, Doxies, Inspectors and more. They identify key attributes, skills and a speciality. Sample names and appearances are defined. You create key memories (which can help with stress) and relationships as part of the basic generation too. You get two derived characteristics to determine how much physical damage and mental stress your character can take; health and resolve. Replicants get a bonus to health and a penalty to resolve. They also get slightly higher attributes. If either of health or resolve is reduced to zero then you will be taking critical damage.

During the game you can gain or lose promotion points (which can help with specialities, salary and equipment) and humanity points (which can be used to raise skills). Replicants can gain humanity by failing a baseline test if their resolve is broken. However, fail too many and you could be retired. 

There is a tight skill list (13); connections is the networking skill and should be useful for the genre. Driving is oddball; you don't use an attribute with this, rather you use the vehicle's manoeuvrability rating.

Specialities give you some extra bonus (for example a smoker can light up once per shift to recover stress, or someone who is married to the job can go for longer without needing downtime.

Combat uses the random cards deal for initiative, but on your turn you can chose to swap your card permanently with someone else and they cannot refuse. Otherwise it feels very similar to other Free League games. Overall, it's a fast system and the damage is pretty nasty if you take critical which happen when health zeros out and you're broken, or when you are hit with multiple successes. There's a nice chase mechanic; each turn the characters involved choose an action and the GM throws in a random event. The chase ends when characters catch up, shoot the runner in the back, or loose them in the distance. We played one of these at Furnace and it was fun and chaotic. 

The book then describes the city, the tensions between the corporations and the UN, and between those who live below the hundredth floor and the rich. There's a decent map of the city and some nutshell descriptions of the areas in each sector. There's not a huge amount of information here; it's a framework to run your game around and I suspect that Alcon have deliberately kept it vague to avoid adding in canon. There's detailed discussion of the Wallace Corporation and the LAPD. Sections touch on off-world, crime and the press. Interestingly, the RDU is ambivalent about crime; it's not its purview and it may well turn a blind eye to get information on its own investigations. The RDU no longer has shoot-on-sight policies for replicants; there needs to be evidence and they are also there to protect replicants from abuse. A good portion of their funding and equipment comes from Wallace. 

There's a good section on replicants; their history and how the Nexus-9 differs from the 6s and 8s that preceded them. The game also discusses the tensions between the Empathy Movement (anti-replicants) and the Sympathy Movement. The Replicant Underground who protected the Nexus-8s when they were banned was also discussed. Wallace is protective over replicants; the ban on their existance has only been lifted for a year, and they are very aware that bad publicity could prove fatal.

There's a lot of good information on working a case; where to get information, the resources available to the LAPD. This includes guidance on working a crime scene and details on the more unique equipment that Blade Runners can access. There's also a discussion on building your reputation or suffering disciplinary action!

The final section is all about running Blade Runner, starting with its key themes which are:

  • Sci-Fi Action
  • Character Drama
  • Moral Conflict
  • Corporate Intrigue
  • Soul Searching
They each have a small paragraph but I think that this could have been developed a bit more than it is. 

The section also discusses how to run the game; mood, pace and not being afraid to split the party. There is good advice on the use of handouts and also combat and chases to change the pace. 

It then details the anatomy of a case file, a structure for the GM to prepare a case to investigate. The situation is presented, key locations and NPCs identified along with countdown of what will happen. Time is important in the game, with each day having four 6 hour shifts. You need to have downtime or you start to suffer stress. Downtime is discussed in detail and character's can have events happen related to their relationships, jobs and street life depending on how they're relaxing.

The text recommends to make sure that there are at least two different paths between each location in the game; it suggests using the RDU Deputy Chief Holden to feed information to the players if they become truly stumped, at the cost of a promotion point. However, much like Gumshoe, there's advice against hiding clues; this is about what they do with the information not how they find it. 

There's a case file generator that seems good for inspiration. It gives you prompts for a theme, the assignment as briefed, NPCs encountered, locations, types of clues, twists, mood and the final confrontation. Conceptually, it's similar to the one in CY_BORG, so let's give it a go.
  • Theme - Corporate Intrigue and Courtroom Drama
  • Assignment - a lethal virus has been stolen from a high security lab and let loose in a run-down environment
  • 5 key NPCs
    • Entertainment, Actor, fast talker, Ariana Rodrigues
    • Street, Store Owner, grubby clothes, Vladislav Ibrahim
    • Science, Researcher, Tired, Reinhard Ricci
    • Tech, Technician, Mumbling, Amar Mirai
    • Science, Scholar, Bald, Ivana Meier
  • Locations
    • Sector 5 - Central, Little Tokyo Shopping District, Shinjuku Alley
    • Sector 2 - Arts District, University of Los Angeles, Student Dorms
    • Sector 5, LAPD HQ, Mainframe
  • Clues
    • Documents, ticket
    • Witness (roll another NPC Politician, Overly Eager, Libby Wyman)
    • Documents, ID card
    • Recording, Photo
  • Twist
    • One of the PCs is framed for a crime
  • Final Confrontation at Mansion outside the city in the pouring rain
  • Mood example - heavy rain, sports event on screen, street sweeper passes
It's pretty good for getting some inspiration. I could build from this.

However, what I think the game does lack is some discussion about how you hang this together; the locations and NPCs will form a path to that final confrontation. City of Mist does this with the iceberg structure and clear advice. The Esoterrorists did it by starting with a spine and hanging clues off it to progress.  Even though the GM is advised that the investigation isn't the point of the game, and that the challenging personal and moral dilemmas are, the investigation needs to hang together coherently with a clear set of paths through it and the countdown set against it. I think this is a miss, and may well make the game difficult for inexperienced GMs. That said, the GM section is good.

So what do I think about Blade Runner: The Roleplaying Game? It looks gorgeous. It's well written and coherent, strongly hitting the notes from its sources, although don't come to this looking for fresh background details. The framework for cases is solid, and the mechanics support the style of play well. It could have done with another two pages giving guidance on building the path through the investigation and advice on linking it back to the key themes. That aside, this is really well done and I recommend it.

5 January 2023

03 January 2023

Music in 2022

 

The 2022 playlist

So, looking at Apple Music, my top 25 contains eight different artists.

  1. Marillion
  2. Simple Minds
  3. MaxĂŻmo Park
  4. The Killers
  5. Porcupine Tree
  6. Melt Yourself Down
  7. Tangram
  8. Hats off Gentlemen It’s Adequate

The first seven places are taken by Marillion’s epic “An Hour Before It’s Dark”. This is one of their best albums, and I absolutely loved hearing it in its entirety live at York in late 2022. Care, the final track, is an emotional rollercoaster. When I heard it at the gig, it wiped me out for the next ten minutes.

Simple Minds enter with their new album, “Direction of the Heart”, two tracks of which are in the Top 25. Not unsurprisingly, these were those released prior to the album so they’ve had more time to bed in.

MaxĂŻmo Park are there on the three tracks from the two singles that they released, “Great Art” and “Merging into You”. Again, we saw them live in late 2022 and they were fantastic. I love the range of the material and the clever lyrics.

The Killers make it with a single track, “Boy”. They were an experience live when we went to see them at Doncaster, classic stadium rock.Worth seeing but I preferred both Marillion and MaxĂŻmo Park’s performances, possibly because they were more intimate.

Porcupine Tree have two tracks from their new album, “Closure/Continuation”, the first in a long time. These were the pre-release singles and the album as a whole hasn’t gelled with me yet. It may over time.

Melt Yourself Down’s latest album - “Pray for me I don’t fit in” - was an impulse purchase after a review in the Guardian. I’ve found it really enjoyable but I have to be in the right mood for it. Two tracks make it.

Tangram’s “Petites Perceptions” has seven entries. More ambient electronic music from a favourite performer.

Finally, Hats of Gentlemen It’s Adequate make it with a single track “Silence is a Statement” from their album “The Confidence Trick”. I think that this one has a chance of being higher placed over time, like the Simple Minds album, as I keep on getting drawn back.

3 January 2023

First Impressions - Artifices, Deceptions and Dilemmas (D&D and OSR)

Artifices, Devices and Deceptions
The cover on AD&D is really nicely done.

Artifices, Devices and Dilemmas (or AD&D hereafter - see what they did there?) is a supplement for D&D style games for the Dungeon Master. It is 160 page book in the small format that matches Old-School Essentials. It has a black and white interior and an attractive colour map based wrap around cover with no spinal text. It is print-on-demand, sourced via DriveThruRPG.

AD&D is gives advice on how to run dungeons in an old-school manner, being fair in how you present the information to the players in such a way that they always get a chance to address traps or challenges without feeling that they couldn’t have avoided things if it all goes horribly wrong. The book is subtitled “Killing Characters Fairly”. This is very much about the early D&D flavour, not the post 3rd Edition hero based D&D that modern players are most used to.

The first section gives options to randomly chose the types of rooms encountered. Each has a summary of what they’re for, keywords that could be used about it and an illustration. In reality, I suspect you’d use it for inspiration when designing a dungeon area rather than slavishly using the tables.

There are then a collection of pages showing what different architectural finishes are like (eg bamboo weave vs. lath and plaster). I found the preceding pages more useful.

AD&D then moves on to talk about Agency and giving players choice; this is where the fairness starts to come into this. It’s very much about DM honesty and making sure that the right clues are given to players in a non-obscure way. This is backed up with examples from early D&D modules. It then discusses the types of traps and their triggers, again backed with examples from past modules. Multiple traps, devices and tricks are described, all excellent food for thought for the DM.

The book finishes with a list of things that can be found in rooms - each item has a selection of keywords to riff off.

The author’s voice is strong and assertive. Initially, it was a bit annoying until I remembered that they’re trying to describe a specific type of play and give direction on how to do it.

Overall, I think this is a useful book if you want to understand a particular style of dungeoneering play (something that D&D5e has moved away from and lacks guidance on). It’s packed with ideas and inspiration. A useful addition to a DM’s arsenal.

3 January 2023

02 January 2023

Thinking of the iPad redux

iPad redux

Back in 2019, I mused about whether the iPad was a viable replacement for my Mac. Back then I concluded it wasn’t, but it would do 80% of what I needed day-to-day. Four years on, what’s the state of play?

When I asked that, I was using the iPad mini 4, a 7” device, along with a Logitech keyboard. I’m now using a 10” iPad Air 4 with a Logitech Keyboard with an integrated trackpad. I also have an Apple Pencil 2. So this comparison is with a faster device with a bigger screen and a selection on non-touch pointing devices. iPadOS has moved on significantly since I last looked, and it’s fair to say that there has been a degree of alignment between macOS and iPadOS so the look and feel isn’t that different overall.

I’m already using the iPad for work - with authentication and the Microsoft iPad compatible apps (Office, Outlook, Teams), it’s a very viable work device. Yes, it’s still a bit behind the experience and flexibility of the Mac or the Windows PC, but the gap is significantly closer. I could certainly travel with this and not miss the laptop.

I’ve also got access to apps like Scrivener which are cross platform and perfect for writing long-form for non-work activities.

The Affinity suite is impressive; these are desktop grade apps. I don’t think I’d consider doing something major with them, but I could. I’ve already retouched a few photos and experimented with Designer. Publisher will be interesting when I have a project going (which I hope to soon). My main hesitancy in using them for something major is that my MacBook is a lot faster (MacBook Pro with an M1 Pro versus an A14 chip), and has a bigger screen. It’s better built for heavy lifting. But I could do a book’s layout on the iPad now, which is a world of difference to 2019.

The Pencil is useful for precision work, and the handwriting recognition is very good. The touchpad is brilliantly done; it moves like you’d expect, but whenever it crosses a touch target, it highlights subtly. 

The Files app now feels like a desktop experience for accessing files; sometimes a bit clunky, but very much a decent interface and experience.

All the barriers have gone. 

So to my question, could I replace my Mac with an iPad? The answer is now a conditional ‘yes’. There would be some compromises, but the state of the art has moved. I think the iPad can easily do 90% of what a Mac can. However, there are some power apps and flexibility it can’t do. I suspect that the convergence will continue over time (especially as the M-series Macs can run iPad apps). 

2 January 2023

Gaming in 2022

 

End of year gaming doughnut.

2022 was a good year for gaming with a solid return to face-to-face, marred a little by missing North Star due to COVID in the family.

All in all, I played 49 games, 35 of which where I was GM. I suppose that I should say that of those 35, 26 of them I was DM for, as I ran 26 sessions of fifth edition D&D as the Curse of Strahd campaign headed towards its endgame. Curse of Strahd is now the longest campaign that I’ve ever run as it approaches 60 sessions; I’ve enjoyed it and just need to bring it to a good ending with the players in 2023. First Age and I  pushed hard to go weekly this year, and that’s reflected in the number of sessions. We had some quite sustained bursts of playing, but the end of the year got complicated with people’s commitments.

Twelve games were face-to-face, mainly at conventions, but the kids dipped their toes into the water of gaming this year with a couple of sessions of MausrĂ­tter, which was fun. They’ve asked me to do another one. I hope to slide this over to another system later in 2023. I also ran MausrĂ­tter as a try out between gaming sessions for the Strahd group and it was fun.

I’ve been playing the Eternal Lies campaign with Dr Mitch, with Rich Lock running. It’s been an intense experience and I was a bit disappointed when we had a break for a while. That was entirely our fault as players due to scheduling, and Rich decided to focus on his album release instead. However, we’ve just started to discuss playing this again, which I hope happens. We may add a third player too.

Dr Mitch has also been running The Yellow King RPG for me and some friends (Elina and Simon). It’s wonderfully surreal and captures the feel of Chambers’ fiction well. We’re on the second chapter - The Wars - now and I hope we get to play all the way through it.

On reflection, I suspect Dr Mitch is the svengali behind my gaming at the moment; he persuaded me to run Curse of Strahd and is a fellow player or GM on the other longer form games I’m playing.

Other highlights in the year included playing Blade Runner at Furnace, getting two sessions of the new Blue Planet in, and the very surreal game of Be Seeing You at Revelation. 

Online, Roll20 has dominated, mainly as I’ve run Curse of Strahd with it. The platform has come forward significantly over the year and I’ve found the various macros and scripts from a paid subscription very useful. I’ve tended to use Role for my one shots; I love the video first approach and it has also advanced a lot. It’s elegant compared to Roll20 and Foundry, which are the heavyweights. Aside from that I’ve mainly used Discord or Zoom.

In conclusion, a good year of games. Here’s to 2023 at least matching it, and hopefully getting some Traveller in as well, as that was a notable absence.

Edit: here’s a better doughnut of games. For some reason Google Sheets didn’t export the full detail.



Books in 2022

The Goodreads target wasn’t it all.


2022 was a pretty decent year for reading, but traditional form fiction suffered because I read a lot more gaming material and got hooked on the Worlds of Aldebaran graphic novels. Although I am still using Goodreads to track, it’s become problematic because of their library policy. You can no longer directly add a book and there are some very strict criteria for getting a book added which makes small press roleplaying games a challenge. It can take a couple of months for a request to happen. So I ended up with a second list on a Google Sheet, which has another 6 books on it, all gaming related.

Old-School Armory
Untold Sagas - Svilland Lore book. 
Gregor's Guide to Gates
The Magonium Mine Murders
Colostle:The Roomlands
CY_BORG

In reading more gaming material, I have found myself with quite a few part read books, which isn’t like me. I need to remedy that over the next year. 

There’s been a stead trickle of Audible books from travel with work, generally covering subjects that I don’t think that I would read more naturally at home.

I’ve set myself a target of 52 books, a book a week once again. I’m planning to join in with ‘Read Along with First Age’ on the Gaming Tavern to give a friend some moral support as they try an read a book a month.

Anyway, here’s the rest of the books I read as covers.





01 January 2023

State of the Blog - 2022 edition

 

The blog traffic

2022 is in the past (Happy New Year to you all) so here’s the annual state of the blog update. The move to Blogger continues to be a success. I need to migrate the last few entries off the old blog still but that’s more to retain them if I can rather than something critical. 

I had around 13,500 views last year, which is slightly up. Only 17 comments, but the reality is that I get more of those on the Gaming Tavern where the blog is syndicated. 137 posts, slightly down on the 146 in 2021 but that year was still affected by the pandemic related increase from being locked down.

Top Ten entries in 2022

The reviews I post (‘First Impressions’ and ‘Second Thoughts’) remain a big pull on the blog; the single most read post was my review of CY_BORG this year, and posts from previous years remain strong. The HelvĂ©czia review remains strong, probably as it’s one of only a few posted and it was linked off RPGnet.

I do need to do the third part of that review, and also finish the 75% written Swords of the Serpentine review as well. However, the bigger books are somewhat harder work to complete.

Browsers

Chrome remains the dominant browser used.

Operating Systems

All three main desktop OSes are represented, with Linux having a great showing.

All in all, a satisfying year. Probably my biggest disappointment was failing to get more on the blog for Traveller, but I have plans for that. 

Anyway, the blog marches on into 2023 - perhaps my next step is to redirect the domain I have to Blogger, which would be good.

1 January 2023