If you have studied the historical campaign, you may wonder if the same operational plan can be duplicated in the game—with the same results.  The answer is yes.  The unit capabilities and game mechanics allow for a repeat of history, but there is always the other player to consider.  As with history, the two sides have nearly the same number of infantry divisions, tanks, mobile units and artillery.  The German advantage is most evident in airpower—the Luftwaffe dramatically outclassed the Allied air forces in the campaign (and so it is with the game).  Only the German player who knows exactly how to employ their units with careful attention to the movement and combat sequences, event card use, the hidden unit dynamic, and especially the air rules—will be able to duplicate the historic success of the 1940 Wehrmacht.  And even then, the historic result was only possible because the Allied response played almost perfectly into Germany’s hand.  But there is more than one path to a decisive result, and the game allows for multiple campaign plans for both sides.  The rules are set up to mirror the operational, command, and doctrinal differences between the two opposing sides, but the contest is designed simply to re-create the same historic “canvas” upon which both players may then paint—the issue will be decided by a combination of player decisions and the fortunes and fog of war.

As his work developed over the following decades, Kasparian produced many studies of great depth and analytical refinement. He was a strong player (the champion of Armenia ten times and a competitor in four USSR championships) and it shows in his compositions. In introducing his collection of 400 studies, published in 1987, he described his work in the following terms. "I have paid the greatest attention to the themes of positional draw, mate, stalemate, and systematic manoeuvre. This is no accident, but entirely natural: in contemporary study composition these themes are often being elaborated, they are promising, fruitful and, perhaps, inexhaustible." Yes, his themes may be the familiar ones, but the originality and subtlety of the play give his compositions a variety that seems as inexhaustible as the game itself.

There is no place for luck in this game. This is all about strategy.

The Glass Bead Game is "a kind of synthesis of human learning"[11] in which themes, such as a musical phrase or a philosophical thought, are stated. As the Game progresses, associations between the themes become deeper and more varied.[11] Although the Glass Bead Game is described lucidly, the rules and mechanics are not explained in detail.

Art is the hook that engages students…. The subjects are familiar so that students have much to recognize but they also contain elements of mystery so students have observations, ideas, and emotions to puzzle over [my emphasis]. (p. 24)

CD-ROM interactive content and games like Myst (1993)

《The Elephant Collection》是原作者 John Cooney (jmtb02)  2007 - 2012 年在 Armor Games 上以一只蓝色小象为主角创作的 Flash 游戏，后来他加入了 Kongregate 直到 2019 年重回 Armor Games 并于两年后出任 CEO。 这个合集是由其他开发者进行重制的：Antony Lavelle （咩咩启示录Loading 开发商的程序员，早年间也是 Armor Games 上的 Flash 游戏开发者） 合集里包括知名度较高的《只有这一关 / This is the Only Level》系列《成就解锁 / Achievement Unlocked》系列等

they involve the flow state. For this it is necessary to make use of adaptability that in the educational scope allows the personalization of the experience to extend the immersion and fun.

axi  embodies a new generation of games

The game went on to be a minor hit in Japan, selling over 100,000 copies -- and was followed up by a Game Boy version which, thanks to Pokemon's popularity, sold over 300,000, launching the new franchise.

"It wasn't all that easy to apply the concept of living life in the countryside to a game design document," said Yasuhiro Wada, creator of the Harvest Moon franchise. Wada had moved to Tokyo after being brought up in the countryside. Though he had no interest in returning to that environment, he finally understood its advantages compared to the big city, and thus wanted to turn that experience into a game. The problem was that he didn't know how. "I needed to nail the player experience," said Wada, but he had a problem: "How do you express the game system of living while working?"

“It looked like we’d run out of time and would have to scrap the battling feature, but Nintendo made it clear they wanted battles in the game, so we had to make it happen”, he explained“So I just thought, ‘well no choice then, it has to be done,’ and the early battles were something you just watched. You would just see there was a battle and who won and who lost.”Morimoto revealed that when this element was first shown to Nintendo, the feedback was negative. “We showed that to Nintendo and the surveys we got back called it ‘boring’,” Morimoto said. “I guess they were right, but we were cutting it close to the deadline trying to add in battles that the player commands.“Ultimately, it’s what everyone wanted, so we got it to work with the Link Cable and made it a reality.”

Ai Ebihara is the kind of character that you expect to hate from the get-go, but her struggle surprisingly becomes one of the better links in the game. Ai is pretty and rich, and she knows it – something that makes her insufferable at the start. She is always stroking her own ego, keeping up appearances, and spends her time being generally self-centered. But it takes a form of rejection to show Ai is dealing with some heavy feelings, even suicidal thoughts. What I loved so much about Ai’s social link is that it’s unpredictable – a rollercoaster of uncertainty. Every time you think you know where you stand with the girl and make progress, you get slapped in the face with an unsettling event or revelation. The question the link poses: Is there a redeeming quality about her? Can a kind soul be all it takes to save someone? Watching it all unfold is beautiful.  

Steam emulator for GNU/Linux and Windows that emulates steam online features. Lets you play games that use the steam multiplayer apis on a LAN without steam or an internet connection.

The magic bullet of education and skillseliminating poverty is an alluring one, but without a substantial increase in thenumber and quality of opportunities available, it is only a mirage.

However, there is fatal flaw to this argument—as an overall macro strategyfor reducing poverty, it will be ineffective unless we also increase the overallquantity and quality of opportunities, particularly job opportunities, in society.In other words, by providing an individual with greater education, we havemade them more competitive in the job market, but only at the expense ofsomeone else. In this sense, the strategy is played as a zero-sum game.

The critical mistake that has been made in the past is that we have equatedthe question of who loses the game with the question of why the game produceslosers in the first place. They are, in fact, distinct and separate questions.

Donations

Tanabe Meito is a psychology student in the “World of Light”, a completely ordered world were people don’t have a shadow. He’s not entirely satisfied, though; and when he meets a girl with a shadow called Shimon he ends going with her to the “World of Shadow”, a rural village where the people are shadows, and Shimon is the only one with both body and shadow. Right after that they meet two other persons with body and shadow: a girl with no memories, who they finally name Sou, and a woman also with no memories but who recalls being called Riri. Then they start living together in Shimon’s house, and have mostly slice-of-life happenings while they investigate a mysterious voice Meito heard just before going to the World of Shadow, and Meito gets used to the shadow people. And while that’s happening you have scenes of a boy who lives with his mother, who eats him, until he discover eating is love, eats her, and goes out into the outer world. Then things get real trippy, and nothing else makes any sense, until the very end, or ever.

Roguelike. [Rogue](https://en.wikipedia.org/wiki/Rogue_(video_game)

context

The "S" in ECS stands for "Systems". A System is a piece of code that gathers data from the entity/components list and does something with it. It's actually quite similar to an inheritance model, but in some ways it's "backwards". For example, drawing in an OOP system is often: For each BaseEntity, call that entity's Draw command. In an ECS system, it would be Get all entities with a position and a renderable component, and use that data to draw them.

You can find the glyphs available here.

In our tick function

I like to say that in ECS we design bottom-up. We look at data and which behaviour depends on which data. In OO we design top-down, we search for abstractions and generic behaviours / definitions.

The fingerless gloves have padded palms.

Tug o’ War’s warning in Mario Party Superstars explicitly says “do not rotate [the stick] with the palm of your hand.” But 2000s kids remember that, in the cold, cruel world of Mario Party, where you don’t get participation trophies, you had to be willing to sacrifice a hand. Now that they’re adults, I expect them to pass this lesson along to the next generation.

As CNET reported way, way back in 2002, Spitzer’s office negotiated an agreement with Nintendo for the company to provide four (4) pairs of sports gloves to every Mario Party owner who wanted them. (This request had to be accompanied by some rather onerous proof of ownership and purchase information.) Very few parents were believed to have actually taken up Nintendo on this offer. Fewer than 100 complained directly to Nintendo.

2000 - Nintendo agrees to supply protective sports gloves to American owners of the Mario Party video game for the Nintendo 64. The Attorney General's office of New York had complained to the company after hearing many reports about children being injured playing the game.

I can’t say I’ve ever hurt myself, but I had a friend who got one nasty blister in the palm of his hand from playing the orignal Mario Party on the N64. I remember he was going around showing it to everyone at school the next day. He was so proud of himself.

Llewelyn described the gloves as "similar to weight-lifting gloves" with padded palms. The Attorney General's office estimated the cost per user could be as much as $18.

Nintendo will provide each family with up to four gloves as part of the settlement. In addition to the cost of the gloves, Nintendo has also agreed to pay for the state's legal fees, totaling about $75,000.

While no case was actually filed, the New York attorney general's office has received almost 100 complaints from consumers whose children had sustained hand wounds from playing any of five different levels of the Nintendo 64 game. The injuries ranged from friction burns and blisters to lacerations and punctures.

"This settlement is good news for the parents throughout the nation," said New York Attorney General Eliot Spitzer. "Nintendo has agreed to take responsibility for the effect of its games on young people."

Video game maker Nintendo of America Inc. agreed on Thursday to provide protective gloves to approximately 1.2 million children who play the game Mario Party. The agreement is part of a settlement with the New York state attorney general's office and could cost Nintendo (ntdoy) up to $80 million.

The gloves offered to players resembled that of a weight-lifting glove, similar to the Harbinger brand, with thick padding on the palms. The Attorney General’s office at the time estimated the cost per user was about $18 USD in damages (And gloves).

Beth Llewelyn, a spokeswomen for Nintendo at the time, stressed that the total cost to the company will more than likely be much less then $80 million USD. “We have had only 90 or so complaints in the year that the game has been on the market,” she said. “We don’t know how many people are going to take advantage of the offer.”

The 5 mini-games in question were Paddle Battle, Tug O’War, Pedal Power, Cast Aways, and Deep Sea Divers, and children needed to rapidly rotate the joystick to succeed at the activities. In many cases, children (And adults) developed horrible blisters on the palm of their hands.

As of December 1999, about 1.15 million copies of "Mario Party" had been sold in the United States, according to the AG's office, which estimated the offer could cost Nintendo $80 million if every consumer takes advantage of it. The actual cost is expected to be much lower, however, as fewer than 100 parents have complained directly to Nintendo since the game went on the market a year ago.

Under the settlement, Nintendo agreed to provide four sets of sports gloves to each "Mario Party" owner who sends in a request. The rather elaborate proof-of-purchase requirements are detailed at (800) 521-0900.

The recorded message on the company's "Mario Party" hotline, however, recommends that players avoid injuries simply by manipulating the joystick with their thumb and forefinger rather than the palm of the hand.

"The alarming thing was how little time some of these children spent playing the game before they were injured," Pritchard said. "One parent said their child had been playing the game for 15 to 20 minutes when they got a second-degree burn."

"One kid got a tetanus shot," said Christi Pritchard, a spokeswoman for New York Attorney General Eliot Spitzer.

Mario Party might be accused of producing the same concepts over and over again, but it has a storied and interesting history to it. Most older gamers will likely remember the “glove” incident, where the Nintendo 64 controller was so tough that it damaged player’s hands, forcing Nintendo of America to provide protective gloves and paid $75,000 in legal fees.

en 2018 et 2019, Ubisoft a ajouté à chaque jeu un mode éliminant toutes les missions et tous lescombats, appelé « Discovery Tours », dans le but que les professeurs d’Histoire dans les écoles secondairespuissent utiliser ces jeux dans leurs cours.

Pourtant, cesmêmes chercheurs accordent toute leur attention aux jeux vidéo sérieux qui, ils le reconnaissent eux-mêmes,sont souvent « peu motivants », « amusants » et « divertissants » (c’est-à-dire, offrant un engagement et uneimmersion faibles), contrairement aux jeux vidéo commerciaux ou basés sur le divertissement (Davidson, 2008;Gee, 2008; Granic et coll., 2014; Hamari et Koivisto, 2015).

les jeux vidéo basés sur le divertissement offrent des expériences similaires aux jeux vidéo sérieux, et qu’il estdonc probable qu’ils mènent à un apprentissage significatif

The need for students to participate in the larger conversations around subject mattershelps writers creating more intellectual prose, but this becomes difficult in a “culture

These methods of interaction and your storyline of yours will definitely make the game interesting. You are all set to make a text-based game by yourself. Go get started and show your skills.

While we are in the process of updating our Minecraft Usage Guidelines to offer more precise guidance on new technologies, we wanted to take the opportunity to share our view that integrations of NFTs with Minecraft are generally not something we will support or allow. Let’s have a closer look!

In his practice, Leiris wrote,Duchamp demonstratesall the honesty of a gambler who knows that the game only has meaningto the extent that one scrupulously observes the rules from the very out-set. What makes the game so compelling is not its final result or how wellone performs, but rather the game in and of itself, the constant shiftingaround of pawns, the circulation of cards, everything that contributes tothe fact that the game—as opposed to a work of art—never stands still.

Twitch, the popular site where people go to watch other people play video games

Rebel Wolves said it will be a studio built on “the foundations of fairness, teamwork, and openness [...] unified by the mission of putting the team first —ALWAYS— [...] they believe that happy people create great games

With Stadia's consumer model going down the drain, Google announced it would pivot Stadia to become a behind-the-scenes, white-label data center service that the company will reportedly re-brand as "Google Stream."

“It makes perfect sense,” says Moro from his home in Boston. “For the game to be a success, it needs to be simple and playable, and picking the most common terms means that in the end, we all get it right in just a few tries.”

The inventor of the original English version, Welsh-born software engineer Josh Wardle, created it during the pandemic to entertain his partner – a word game addict, as he told The New York Times.

It might just be a way to organize and deepen your thinking.

've long been a fan of board games, I enjoy a game that fully occupies my mind, clearing out all the serious thoughts for a bit, while enjoying the company of good friends. Modern board games saw dramatic improvement in the 1990's with the rise of Eurogames, and I expect many people would be surprised if they haven't tried any of this new generation.

“Just because you’re winning a game doesn’t mean it’s a good game.” Seth Godin, Icarus Deception (Life)

graphics are not really important in the grand scheme of things, even less so in puzzlers, but the diorama-like presentation of forests and cute animals immediately won me over, and I found small things like moving animals in the backround hours into the game. gotta admire the attention to detail.

add some quality of life stuff like volume sliders, windowed mode, unlimited undo, etc.

when it first came out, cubicity: slide puzzle was full of mobile shenanigans, but based on feedback the developers quickly 'de-mobilized' it during launch week

The game is not too bad.. sweet graphics yet minimalistic.. but why the heck 1,5k achievements? I can barely concentrate on the levels because all the freaking achievements pop up all the time. One per level would have done the job just fine.. i love achievements.. but getting 1,5k for nothing is hideous.

as it stands, this only goes to highlight what a miracle, what a classic for the ages Actraiser really is, whilst confirming itself as, unfortunately, one to avoid.

Probably the only thing I'd like to see fixed now is the possibility of quick restart like in the old Timberman and not having to wait for the 'Game Over' screen to finally be back to the good ol' choppin'

Just about everything players own can be exchanged at any time. The old promise system has been redesigned to provide players with the ability to give away future favors for crucial leverage in the heat of a negotiation. Players have never had so many ways to make a deal. 

John Company offers players a new understanding of British history in the eighteenth and nineteenth century that reflects contemporary scholarship on the subject and extensive research into primary documents. John Company attempts to put the critical events of that time in their proper context and show how the imperial experience transformed the domestic culture of Britain. The East India Company lurked behind every building of a textile mill and every bit of wealth in a Jane Austen novel.  John Company is an uncompromising portrait of the people who made the Company and the British Empire what it was. It is as frank as it is cutting in its satire.  Accordingly, the game wrestles with many of the key themes of imperialism and globalization in the eighteenth and nineteenth centuries and how those developments were felt domestically. As such, this game might not be suitable for all players. Please make sure everyone in your group consents to this exploration before playing. 

Unfortunately, there is some urgency to this effort. As Shashi Tharoor writes in his book Inglorious Empire (2018), over the past 30 years, there has been a tremendous bout of collective amnesia, espeically in the UK, about the history of empire and its consequences. Into this vacuum, revisionist historians of the worst kind like Niall Ferguson have capitalized on historical blind spots of people living today to make an absurd case for the benefits of empire. This cannot be allowed to happen. Tharoor believes that one of the best bulwarks against this erasure is to do the work of inquiry and to make the history of empire accessible and apparent to the widest audience. It is into this effort that I submit my work. John Company is an unsparing portrait that hopefully will give its players a sense of the nature of empire and the long half-life of its cultural production. It is certainly not the only way to make a game about empire, but I hope that it does its part in adding to our understanding of that subject and its continued legacy.

Around &Bigger the box is bigger: 75mm high instead of 45mm or so.That was the main reason for the name &Bigger. The first edition does fit in its box but very tight. Because the first factory used bigger cardboard than planned. They told me about this "upgrade" after they produced the game. The thicker tiles (about 2.5mm) did feel good for the game so the &Bigger edition has the same

The central decision of the game is when to play your houses. And you didn't even really talk about that.

Few real decisions to make....Not in my experience, either in tile placement or in disk placement. Of possible interest is the thread:Informal experiment: how easy to find "the optimal disk placement" in various positions?wherein we see that even in the second phase, which people often complain is "automatic" or "obvious", the decisions are not necessarily obvious.

However, it can be extremely frustrating placing the tiles. Very commonly there will be no position to place a tile in and it will be put to one side. Perhaps someone new to tile-laying games wouldn't find this so odd, but to anyone with experience of Carcassonne it will seem very limiting. In Carcassonne you can pretty much always place a tile, with several choices of position available. Every player I've introduced this game to has looked at me as if to say, "We must be doing something wrong." But no, that game is designed that way. Sometimes it feels like the map builds itself - there is often only one viable placement, so it starts to feel like a jigsaw, searching for that available position. Surely placing a single tile shouldn't be this difficult!

I recently played a prototype of an upcoming game called Bronze. This takes the tile-laying/ territory claiming mechanic and builds on it by adding abilities to each of the tiles. they benefit you in some way if you claim them. The result is a very similar feel to Fjords (competing for a share of the map) but with greater depth.

Requires you to play multiple rounds (i.e. short games) to balance the scores

Luck over-rides strategy

You can't avoid the comparisons to Carcassonne even though the scoring mechanic is very different. It just looks the same, and the tile placement phase feels close enough to be familiar. However, this familiarity starts to nag at you, only adding to the frustration when tile placement is clumsy and luck-driven unlike Carcassonne. The comparison is not favourable for Fjords.

There is a tendency in short luck-heavy games to require you to play multiple rounds in one sitting, to balance the scores. This is one such game. This multiple-rounds "mechanic" feels like an artificial fix for the problem of luck. Saboteur 1 and 2 advise the same thing because the different roles in the game are not balanced. ("Oh, well. I had the bad luck to draw the Profiteer character this time. Maybe I'll I'll draw a more useful character in round 2.") This doesn't change the fact that you are really playing a series of short unbalanced games. Scores will probably even out... statistically speaking. The Lost Cities card game tries to deal with the luck-problem in the same way.

You can strategise to a degree by trying to block off a potential peninsula (cut off between two mountains for example). This can start a little race to claim this area. e.g. I cut off an area with one of my houses. My opponent places another house deeper into the peninsula claiming it, so I place yet another on the peninsula. This little war does not (and cannot) last long, because you only have four houses each.

You can strategise to a degree by trying to block off a potential peninsula (cut off between two mountains for example). This can start a little race to claim this area. e.g. I cut off an area with one of my houses.

Luck is a major factor. As discussed above, sometimes the map seems to build itself and you draw tiles which you HAVE to place even though they are aiding your opponent.

f you cannot place it, it is set aside for use later in the game if an opportunity arises. (Tiles are set aside a lot.)

There are times when a piece CAN be played, but the options available lead to many strategic decisions:1) If I play it HERE, will it benefit me more than you?2) Does the placement force my hand to place another farm, and if so will I have a farm defecit compared to yours?3) Does this placement create a situation where I might be giving up first-play advantage (opening up a piece that had previously not been playable)?

Actually, I think your wife's point is quite astute. Once you become very familiar with this game, there is almost too much deep planning in the moves.

My wife's first description of playing Fjords was that it felt a bit like playing Othello, in that you had to think too far ahead. I don't see it that way. I think that the luck of the draw & the fact that a tile must be played if it can, means that you can't always plan too far ahead. Often you have to try to work out how to make use of what you've got.

What's the point of playing a game featuring fjords without also including vikings to pillage the other player's lands...I've actually developed two additional tiles for Fjords: The Dragon and The Marauding Hoard. Both do exactly that.(I've play tested them with a friend well over 40 times and we both agree that with an expanded set of Fjords tiles, these two greatly improve the game for us. I'll write the tiles up and post them to BGG... eventually)

you're quite the lucky man. i finally got my wife to agree to play fjords with me last weekend and, after beating me pretty soundly in two straight games, she announced she didn't like the game. turns out she didn't like the puzzle/board-building aspect of the game, the lack of aggressive play ("it would have been better if i could have fire-bombed some of your land") nor all of the 'action' taking place in the last minute or two of the game.drats.

It's the first time that my wife and I have played Fjords together. She's not a gamer but we've recently been playing a few more games and she's been willing to try a few Eurogames (e.g. Carcassonne) and some of the kosmos 2-player games (Jambo, Odin's Ravens, Balloon Cup, Lost Cities) that I've borrowed from friends which is great. I manage to get a hold of a copy of Fjords and we have a go.I tell her that it involves spatial awareness and planning ahead. I explain the rules to her (having only played it once or twice myself and won each time), and she's doing her best not to roll her eyes; there's a definite lack of enthusiasm there.

I tell her that it involves spatial awareness and planning ahead.

It's as good as online-only, however with noone actually playing you'll find yourself queueing for bot matches (even having to wait for the "other players" to select their vehicles). You want to just race your mate in a local game- nope! Local races are single-player only (apparently the devs couldn't be bothered with coding a split-screen or zooming camera to enable local multiplayer races). Want to play online but specify the map? Nope! Play a game online with a good lobby and want to stick with that group? Nope! Every game forces you to exit after each event.

Firstly, I don't like being thrown back into the menu every single time I fail a challenge, I prefer to be thrown right back in to it, maybe a "retry" option should be there to throw you right back in once you fail a challenge.