Cawnpore and Perseus are now available in the Createspace eStore and should be up for purchase on Amazon.com and other bookstores over the coming weeks. They are also still available in eBook format on every ereader out there.

One of the best lines from Monty Python’s Life of Brian is “What did the Romans ever do for us?” The characters follow this up with a collection of marvels from sanitation and aqueducts to the road. Now it looks like the Romans are about to do something for modern civilization: Scientists have recovered the secret of Roman concrete manufacture.

That may seem a strange thing to laud, but keep in mind most Portland cement-based concrete is lucky to survive weathering and use over a half century…in Italy, there are buildings in remarkably good shape after 2000+ years. 11 harbors studied showed remarkable vigor, despite being exposed to the vagaries of wind, weather and water.

Lawrence Berkeley National Laboratories explains in this press release:

The Romans made concrete by mixing lime and volcanic rock. For underwater structures, lime and volcanic ash were mixed to form mortar, and this mortar and volcanic tuff were packed into wooden forms. The seawater instantly triggered a hot chemical reaction. The lime was hydrated—incorporating water molecules into its structure—and reacted with the ash to cement the whole mixture together.

Bigus Dickus would be proud.

As per NPR, archeologists have found the ruins of a ancient Cambodian city using remote-sensing technology.

Mahendraparvata, a 1,200-year-old lost city that predates Cambodia’s famous Angkor Wat temple complex by 350 years, was part of the Hindu-Buddhist Khmer Empire that ruled much of Southeast Asia from about 800 to 1400 A.D.

From Wikipedia, the location is in deep, swampy jungle — perfect for the ’30s (or even modern — added danger: landmine are common there) pulp-style game:

They initially uncovered five new temples. Eventually, using the Lidar data, 30 previously unidentified temples were discovered. In addition to the temples, their research showed the existence of an elaborate grid-like network of roads, dykes and ponds forming the city…The city’s origins date to the reign of Jayavarman II, considered founder of the Khmer Empire. His reign was consecrated on the sacred mountain of Mahendraparvata.

The only European that had been in the area as of 1936 was Phillipe Stern, a French archeologist.

 

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Yeah, it’s an older video. Yeah, I don’t play Dungeons & Dragons of any edition. But I’d go classic geek and play a female tiefling any day….

I’ve been waiting about a month for a contract for the two books I was supposed to be working on this summer for Cubicle 7′s Victoriana line, and I have other projects that need attending to, so I’ve begged off.

This is emblematic of the role playing game industry and the lack of professionalism that surrounds it. Part of the issue is that the publishers tend to be fans and gamers who get into the business because “it will be fun” or “I can do this better.” Inevitably, they hit the hard wall of business reality: deadlines, coordination of talent, outsized expectations — this causes many of the companies to have trouble with paying their talent, or keeping to a schedule. They don’t figure on the ancillary time and expense of launching a game line (especially when licensing is involved!), or maintaining interest.

The other problem is the “talent”. Again, usually gamers and fans, they get into the industry for “fun” or as a means to bootstrap themselves into the writing field. They sometimes work for peanuts, but more often for the “love of the game” or “to get their name out there.” That leads to a lack of professionalism, and allows the industry to pay them as the amateurs they are. ($0.02 a word is typical. That’s $2000 for a 100,000 word book.) If also means the industry is used to half-assing their relationships and responsibilities with their artists and writers because they know they can get away with it.

What’s the solution? I don’t really have a practical one. Publishers need to look to the business plan first, and the talent needs to go in with the expectation that they are going act like professionals (no prima donna bitching when the editor cuts the writing you thought was superb) and get treated like professionals, including a reasonable pay schedule.

How do you know you are making an appropriate amount for a project? Here’s a tip: Figure the total payment for the project. We’ll work with the hypothetical 100k word count from above. Figure out how much you’re willing to work for hourly. My rate is, lowest, $20/hr. — about on part with what I get paid for for teaching college classes. (I do the same calculation for the flat rate I’m paid per class.) Below that, it’s not really worth my time. That means for $20/hr. I will dedicate 100 hours, maximum for a project paying $2000. If I block out 5 hours a day, that’s 25 days or roughly a month to do the work. Every time I’ve used this method, it has helped me with time management and motivation. I usually figure my time as a range — $30/hr. is my favored pay rate and would mean I’m happiest if I can punch out oa project in 66-67 man-hours, but I am willing to stretch to 100 as needed.

I’m sure an artist would have a different set of standards for getting paid, and if there’s an RPG artist reading this, please feel free to comment or drop a line on your thoughts regarding the industry, payment, etc.

One of the things I liked about Babylon 5 and the reimagined Battlestar Galactica was that the characters had to make big decisions based on bad information, little sleep, and through the prism of emotional strain of surviving the apocalypse. It’s something that was present in my last BSG campaign, but it is firmly up front and center in the current game.

The last few game sessions revolved around the death of Sergeant Hadrian, the master-a-t-arms, found murdered near the water tanks. It gave me a chance to do a police procedural in the environment of Galactica. The characters chase down forensics evidence — surveillance cameras near the scene, fingerprints and other evidence on the murder weapon, and the like — there were a few red herrings in the episode, and they were tripped up by sabotage of the tanks ala the episode Water. They have to solve the murder and sabotage at the same time. One of the suspects is the still-present Aaron Doral. In our campaign, he was a Ministry of Education flunkie responsible for the museum transition on Galactica and who is now the Scorpia delegate to the Quorum of Twelve. Eventually, it turns out Doral was set up by a Cylon agent whom they stop in a desperate fight outside of auxiliary damage control, where the bad guy was aiming to vent the ship and kill the crew.

The B story, however, seems to indicate where the meat of the campaign is going to be: BIG decisions. As the new government gets its legs, they are trying to decide what the government, laws, and life of the fleet is going to look like. One of the characters is the commander of Galactica and he is already showing signs of authoritarianism. He’s been floating the idea of a military dictatorship, something the vice president character seems to be somewhat supportive of. What kind of law and law enforcement are they going to have for the fleet? Concentrate on violent crimes only? What about crimes involving coercion or other kinds of “force”? They have two cops…do they form a bigger police force? What kind of authority should they have? What kind of surveillance and expectations of privacy should you have?

These kind of issues don’t turn up often in the average dungeon crawl or setting where the players are “street-level”, but they make for good fun for characters that have some level of power. What happens when your fighter becomes king of the realm..? Do you rule as a “good king”? Even if you do, what kinds of freedoms can you give your people? How does power affect your decision-making process — can you stay “good” or do you let the power go to your head?

What about the street runner that becomes a corporate exec in Shadowrun  or Cyberpunk — do you sell out? Do you work to fix the system from the inside? Do you convince yourself you’re doing one, while actually doing the other?

 

Here’s a leather folio that one of our players had made for everyone in the gaming group:

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It’s just large enough to hold both my Macbook Air 13″ and my iPad2, plus the notepad under the laptop, etc…

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Thanks, Nathan!

 

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