Monthly Archives: May 2006

Ten Years of Kalyr

I’m not sure of the actual date because I no longer have the archives of the very early posts to hand. But I do remember that I posted the first actual game moves to the CompuServe RPGames forum in mid-May, 1996.

That means the online game has been running for ten years. Much longer than I’ve owned the kalyr.com domain.

The old CompuServe forum is long since gone, and for long and complicated reasons I’m not going to go into the game has bifurcated into two parts, one of which runs on The Phoenyx, the other on Dreamlyrics.

There are currently about a dozen players in the two games, and at different times there have been over thirty different player characters. Sadly none of the first six from May 1996 are still playing, but I’ve still got one active PC who’s been playing since the first few months.

Being an online game, players are scattered all over the world; I’ve currently got players from Britain, the US, Canada, Germany and Israel. I’ve actually met just four of them face to face.

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Quote of the Day #2

“In many ways, I’d say the divide between rules-lite and rules-heavy is how much help the game thinks you need to decide if a grenade launcher can open a locked door.”

Originally from a poster called “pawsplay” somewhere on RPG.net, quoted from the Fudge Mailing List.

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Quote of the Day #1

From Spinneyhead

When people start blaming “politically correct teachers” and “the doctrines of multi-culturalism” I want to reach into the monitor and slap them really, really hard. Sorry folks, but your heroine Maggie Thatcher, and the generations of politicians before and since who’ve tried to pander to the reactionary Daily Mail and tabloid readers, did an order more damage to British society than an army of multi-cultural teachers ever could.

I know I’m not the only person that parses the phrase “It’s political correctness gone mad” as “It’s not worth paying any further attention to this twit”.

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On Music vs. Lyrics

After too long a break, J Michael Neal is blogging again. Here’s what he has to say about Mark Knopfler’s latest album.

Knopfler has become far and away my favorite lyricist. Understand that my default setting is to pay no attention to a song’s lyrics whatsoever. Just because you hear me singing along doesn’t mean that I have the slightest idea what is being said. This has its upsides and downsides. It means that Dream Theater and Yes have irritated me a lot less than they might have, letting me just enjoy the music. It also means that it took me a long time to really appreciate Knopfler.

I actually think that the majority of ordinary music fans are more interested in the music than the lyrics. Unfortunately it’s the other way round for the majority of music critics, who, being writers, care more about the words. Hence we see the out of hand dismissal of bands like, well, Yes and Dream Theater, and excessive praise heaped upon the likes of Morrissey and Pulp, who’s work is sometimes so much about lyrics that they forgot to put any actual music in there. Strip away the lyrics from just about any of the indie bands praised by the NME, and you’re left with very formulaic four-chord plod where not only individual songs, but entire bands are completely indistinguisable.

As for Mark Knopfler, I’ve lost touch which what he’s been up to since the days of Dire Straits. I saw them live when they were at their commercial peak, when the Brothers in Arms album was CD all the gadget-obsessed yuppies always used to show off their expensive new stereos. Dire Straits unfortunately got tagged as Corporate AOR for the three-CDs-a-year crowd, filed alongside Phil Collins or Foreigner. They were really better than that. They’re overdue for critical reappraisal, and deserve to be remembered for works like “Telegraph Road” rather than the awful cheese of “Walk of Life”.

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Incompetence

For a while there’s been a lot of evidence that there’s an awful lot money being wasted through incompetent project management in the railway industry. Now this Guardian article on idle jobs shows just how bad things have got.

Two of these jobs are on the railways, and it seems that in this particular sector, old 1970s-style jobs with lots of tea breaks and standing around in groups looking at bits of metal are still very much alive, despite today’s weaker trade unions.

Our first reader, who we shall keep anonymous, lovingly describes the progress of a typical shift.

“I was rostered to be on site from 4pm till 4am. When we arrived, the boss didn’t know what we were supposed to be doing, and nor did we. We sat in our van drinking coffee till 11.30pm.

“By that time, you have lost the will to work, it is cold, you are in a nice warm van swapping stories and watching silly video clips on phones. We had to get out of the van for 20 minutes and then the boss let us go.”

Our reader says that he does one or two shifts each weekend, which leaves the rest of his week free to be idle. Another railway worker says that he gets paid for an eight-hour shift even though the work is usually done in three or four hours.

Furthermore, he adds: “Because of massive amounts of bureaucracy, I reckon that about a quarter of all shifts are cancelled as soon as we turn up on site. So, we get paid for doing eight hours’ work for doing bugger all.”

As a rail user and taxpayer, I’m footing the bill for this nonsense. I once counted 43 people in orange safety hats wandering around Alderley Edge, and not one of them actually seemed to be doing anything.

However, I don’t agree with the author that this sort of practice is a holdover from the 1970s. I think it’s got very much worse after privatisation, when the railway was fragmented into a million pieces. Privatisation was supposed to bring greater efficiency through the ‘disclipline of the market’, or so the crackpot ideologues told us. What rot!

Posted in Railways | 2 Comments

Kettles and Castles

After travelling to North Wales to see Mostly Autumn on the Friday, I decided to make a weekend of it. Not that I didn’t head out of Rhyl on the first train out of town on Saturday morning…

I travelled west to Caernarfon, capital of Gwynedd, starting point of the 60cm gauge Welsh Highland Railway. The original WHR ran from Dinas Junction, a few miles south of Caernarfon, through twenty miles of spectacular mountain scenery to Porthmadoc. The northern section dated from 1875, but the extension to Porthmadoc wasn’t completed until 1923, by which time it couldn’t really compete with buses for local traffic. The entire system closed in 1937, too early to benefit from the postwar tourist boom.

Beyer-Garratt at Caernarfon

The new WHR begins in Caernarfon itself, and runs on the trackbed of a former standard gauge line to Dinas Junction, before running on the original WHR formation.

The engine is by far the largest narrow gauge locomotive running in Britain. It’s an ex-South African 2-6-2 + 2-6-2 Beyer-Garratt, built, I think, in Manchester. It’s more than double the size of the sole surviving locomotive from the original WHR.

Beyer-Garratt South of Rhyd Ddu

The current terminus is Rhyd Ddu, about half-way to Porthmadoc, and half a mile short of the summit of the original line. The remaining section through Beddgelert to Porthmadoc is still under construction, and is due to open in 2009. When complete it will be the longest narrow-gauge line in Britain by a long way.

Caernarfon Castle

Long before the coming of the WHR, Caernarfon has been famous for it’s magnificent castle. There are several well-preserved castles in north Wales, but Caernarfon is not only the most impressive, but the most complete. While it was build by Edward I to oppress the conquered Welsh, I notice it’s now flying the Welsh national flag, not the British one.

Gwynedd Council Building

I’m not sure what to make of this building. It’s the offices of Gwynedd Council, the unitary authority for the top left-hand corner of Wales. The design is so cod-medieval it looks like something out of a Katherine Kurtz novel.

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Mostly Autumn at Rhyl

Last Friday I saw the magnificent Mostly Autumn play the Welsh seaside town of Rhyl. For those not familiar with the place, Rhyl is an old-fashioned British seaside resort, where all the shops sell sticks or rock and Donald McGill postcards. This is the first time I’ve seen them since the departure of keyboard player Iain Jennings.

The Pavilion Theater seats about a thousand, and is a big venue for a band more used to playing clubs. While they didn’t fill it, they did manage to attract a fair-sized audience, both fans like me who’d travelled a fair distance, and plenty of locals who’d not seen them live before. When you used to seeing the band crammed into a tiny club stage with hardly enough space to move, it’s strange to see the eight of them spread out across the enormous theatre stage. There were one or two occasions where I feared Bryan would do a Frank Zappa and fall into the orchestra pit.

It’s also strange to see them in a seated venue. From my seat facing Bryan’s side of the stage, the sound mix had a little bit too much guitar, and not quite enough keyboards, which seemed to emphasise Iain Jennings’ absence. This does mean that flautist/keyboardist Angela Gordon has a much bigger role on stage, sharing Ian’s keyboard parts with new boy Chris Johnson, as well as playing a lot of flute. She’s also out front rather than being half-hidden at the back.

The two and a half hour set concentrated on old favourites. They started with the lengthy Floydian “The Last Climb”, which always seems to me to be a slightly odd choice for an opening number when the band have plenty of uptempo rockers in the setlist. The first half of the set was good enough, with the flute-driven rockers “Caught in a Fold” and “Dark Before the Dawn”, and a lengthy solo spot from Liam Davidson before “Spirit of Autumn Past”. Things really caught fire after the interval. After “Heart Life”, the ‘rocked-up celtic jig’ section finally got a large part of the audience out of their seats. (I think most of the people who criticise the band for ‘those awful jigs’ have never seen the band live). Then came an absolutely storming version of “Never the Rainbow”, with Heather and backing singer Olivia Sparnenn singing alternate lines, followed by the call-and-response between Olivia and Bryan’s guitar. In complete contrast, it’s nice to hear “Shrinking Violet” restored to the set, which had been absent the last couple of times I’ve seen them. The one real surprise was “Close my Eyes” from the band’s debut album. They closed the main set with a magnificent “Carpe Diem”. Encores were “Heroes Never Die” and, of course, the epic “Mother Nature”.

While it was sad to hear about Iain’s departure, his absence hasn’t diminished the band’s live performances. If you get a chance to see them live, go. You won’t be disappointed.

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Notwork Rail

Looks like my rail replacement bus nightmare is going to last a lot longer than I’d originally hoped. As reported on the North Wales Railway notice board, things are going from bad to worse.

As already rumoured in some quarters, reliable reports indicate that the Cheadle Hulme – Crewe line, which has been closed to all traffic since December 2005, will not be opening in June 2006 (already delayed from March for ‘software testing’ as has been publicly promised. It seems that some sort of temporary service might now be in place by August, with a full timetable not restored until December 2006.

This shambolic situation has been brought about by the attempt to re-signal this line with Ansaldo equipment from Italy, intended to be controlled from the existing signal centre at Stockport which has already proved unequal to the task of dealing with the Stockport station area and has so far been confined to a small area around Cheadle Hulme.

The Cheadle Hulme – Crewe line has been controlled from power signalboxes at Wilmslow and Sandbach, built about fifty years ago and featuring large numbers of electro-mechanical relays (suffering from metal migration in their contacts) and miles of wiring whose insulation had deteriorated to such an extent that anyone disturbing it for maintenance was in danger of causing a short-circuit with potentially fatal results. We imagine that it was decided that the re-signalling project had to go ahead with the only design available, even though engineers were sceptical about the results. The two signalboxes contained asbestos, and both were dismantled and taken away at the beginning of the current project.

Any further comments we could make here would not be suitable for a family audience

This is getting more and more like a ‘heads need to roll’ situation. An unnamed source within the rail industry has told me there were a lot of screwups in the early stages, such as severing the track despite needing access for engineering trains on other parts of the line. I wondered why they took out the old pointwork at Alderley Edge and replaced it with plan line, and spliced in the new pointwork a few weeks later. I hadn’t heard of the contractors putting a crane jib through the overhead catenery (ouch!). But the real problem seems to the fundamental incompatability of the software interlocking with the existing signalling at each end of the line. As Chadders has said, quoting The Daily WTF, it’s not sufficiently Enterprise

It’s difficult not to come to the conclusion that this fiasco is ultimately a consequence of the fragementation of the railway resulting from botched privatisation pursuded by the lamentably clueless administration of John Major. I can’t imagine a fiasco on this scale happening in the days of British Rail.

When the trains will finally return is anyone’s guess. It wouldn’t surprise me in the least if they never do return to the smaller stations on the rural southern end of the line. The slow and meandering rail replacement bus usually runs empty south of Alderley Edge, the 90+ minute journey time (compared with the 25 minutes of the train) mean that most passengers have found other ways to travel.

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