supposing I was a writer, say, for a newspaper or for a magazine. I could create content in one language, FreeSpeech, and the person who's consuming that content, the person who's reading that particular information could choose any engine, and they could read it in their own mother tongue, in their native language

when you want to use Google, you go into Google search, and you type in English, and it matches the English with the English. What if we could do this in FreeSpeech instead? I have a suspicion that if we did this, we'd find that algorithms like searching, like retrieval, all of these things, are much simpler and also more effective, because they don't process the data structure of speech. Instead they're processing the data structure of thought

language is really the brain's invention to convert this rich, multi-dimensional thought on one hand into speech on the other hand.

the dream, the hope, the vision, really, is that when they learn English this way, they learn it with the same proficiency as their mother tongue.

there were a group of scientists that were trying to understand how the brain processes language, and they found something very interesting. They found that when you learn a language as a child, as a two-year-old, you learn it with a certain part of your brain, and when you learn a language as an adult -- for example, if I wanted to learn Japanese

if I wasn't an English speaker, if I was speaking in some other language, this map would actually hold true in any language. So long as the questions are standardized, the map is actually independent of language. So I call this FreeSpeech

grammar is incredibly powerful, because grammar is this one component of language which takes this finite vocabulary that all of us have and allows us to convey an infinite amount of information, an infinite amount of ideas. It's the way in which you can put things together in order to convey anything you want to

he next thing will be overshoot so we then say 1.5 and then you know keep our fingers crossed there'll be an overshoot of 0.2 or3 or half a degree or whatever it might be and then the next bit after that will be due engineering so we'll embed the SRM in and so that that is the that's the D that's the direction that we are going

bigger game

shadPS4

February 2008

666

their defense industrial base can't keep up with replacing that um they have replaced a lot of the stuff that they lost in the first 18 months of the 00:00:38 conflict but even at at the rates of losing that mean they can't keep that up so that's hollowing the Russian forces out

another 00:04:11 mobilization another 300,000 Russian men

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.

the idea of a game is really important and the rules of the game so what's happened is that to the extent that that we've we 00:39:33 have lost the common understanding of our reality then people start attacking the rules of the game and and that's you know going back to my work on conflict

Fog of war terrain system. With the randomised terrain set up, every game is different and forces you to make choices as you uncover your predefined play area and it encourages you to explore every inch of it.  

This is a fully tactile experience. No decks of cards to shuffle, no score tracks, no fiddly cubes, no confusing rules or nuances. Just a fluid set up, play and pack down experience with beautiful components.

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.

Too bad the aim assist ruined it for me.

the game rewards you for picking the most defensive

The toughest part of the game is easily deciding which club you will use because the game gives you absolutely no clue on how long a club will take you, if you use its full potiental. Well, I calculated the distances... use this table to find which club you would use when in need. ---------------------------- | Club | Max. Distance | |----------------------------| | 1W | 260 yards | | 3W | 230 yards | | 4W | 220 yards | | 1I | 210 yards | | 3I | 190 yards | | 4I | 180 yards | | 5I | 170 yards | | 6I | 160 yards | | 7I | 150 yards | | 8I | 140 yards | | 9I | 125 yards | | PW | 100 yards | | SW | 75 yards | | PT | 30 yards

We all like games with a wide variety of resources, but most board games or card games never seem to have all that many.  So let's do a comparison with popular games out there.

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

Tyrion Lannister : A wise man once said a true history of the world is a history of great conversations in elegant rooms.

AAA (or Triple-A) video games are to the gaming world what blockbusters are for the film industry.

If there’s a force that’s driving us toward greater complexity, there seems to be an opposing force, a force of destruction that uses competition for ill. The way I see it, Moloch is the god of unhealthy competition, of negative sum games.

The simulator widget below contains the entire source code of the game. I’ll explain how it works in the following sections.

Judge Domino is a game in which players judge if toppling a line of dominoes will succeed or fail. Players take turns adding to the line, but to score points, you must make others think that the toppling will fail. Can you baffle other players' judgment?

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.

Video Game Narrative: The Different Types and How-to Start Writing

Game Design Document Outline

When writing a story you must take all key elements into account in order to produce a story that will flow for the reader. Stories can be broken down into five key elements; the characters, the setting, the plot, the conflict and the resolution. Finding a prompt for what to write a story about can be very difficult. To help, the following link provides an activity to come up with some story ideas!

The novelist and screenwriter Raymond Chandler said he avoided reading books written by someone who didn’t “take the pains” to write out the words. (It used to be common for writers to dictate into a recorder then have an assistant transcribe those words.) “You have to have that mechanical resistance,” Chandler wrote in a 1949 letter to actor/writer Alex Barris. “When you have to use your energy to put those words down, you are more apt to make them count.”

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).

si l’onsuppose qu’une part importante de nos étudiants ont une motivation intrinsèque pour jouer aux jeux vidéopendant leur temps libre, il vaut la peine d’étudier si cette même motivation et ce même engagement peuventêtre transférés dans le contexte d’un cours, et si ce type d’expérience peut aboutir à des apprentissagessignificatifs

si l’onsuppose qu’une part importante de nos étudiants ont une motivation intrinsèque pour jouer aux jeux vidéopendant leur temps libre, il vaut la peine d’étudier si cette même motivation et ce même engagement peuventêtre transférés dans le contexte d’un cours, et si ce type d’expérience peut aboutir à des apprentissagessignificatifs

notre recherche a pour objectif de mesurer l’impact de ces jeux vidéo sur l’engagement général,l’apprentissage, l’empathie et le raisonnement critique des étudiants dans un cours en Humanities de niveaucégep et dans un cours du programme de techniques d’éducation spécialisée (TES) de niveau cégep,respectivement.

La volonté d’étudier les jeux vidéo basés sur le divertissement en particulier est motivée par le fait que lesétudiants sont largement plus susceptibles de jouer à ces jeux vidéo en dehors de la salle de classe, précisémentparce qu’ils sont plus populaires, captivants et immersifs, dès leur conception

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

générer des résultats d’apprentissage significatif sous la formed’empathie en utilisant un jeu vidéo basé sur le divertissement, Never Alone (Kisima Inŋitchuŋa)(Upper One Games, 2015), dans le cours « Interactions and Cultural Communities » /« Interactions et communautés culturelles » (351-CC1-AS) du programme de Techniquesd’éducation spécialisée

générer des résultats d’apprentissage significatif sous la forme depensée critique en utilisant un jeu vidéo basé sur le divertissement, Portal (2007), dans le cours« Knowledge » (345-101-MQ) du programme Humanities 101.

When people first see your Twitter, without even having to scroll down, they should knowThe name of our Game (make this your Twitter tag, not your company name!)Gameplay footage of our game pinned to the top of the feedOur unique selling point/elevator pitchWhat our logo looks likeWhat genre the game isWhere our Discord isWhere our Patreon isWhere our Facebook isOur email address

Try and think of something catchy that’s easy to remember. Don’t make your name too long or confusing.

I have seen games in the past that have used a generic word and then found it impossible to find their game, even when I was actively searching for it

I joined a game dev company and quickly learned the ropes of (Unity) game development from professionals. Like you said, most online tutorials are aimed at beginners

Learn the fundamentals of the field, like value propositions, price anchoring, antes vs drivers, etc

Price is deceptively difficult to get correct, especially when you start talking about microtransactions, but is solvable with competitive research

You bring up a really good point. It's important to reach out to Youtubers who are specifically interested in the type game you are making while having a small enough following to actually pay attention to you

First of all focus on where your potential "clients" are. Try to sketch'em and list their habits. We call it the Buyer Persona

don't try to be everywhere, keeping up with accounts/channels, etc that don't do much

Ok, so that's clear, but knowing your audience is more than people playing games similar to yours. It even goes beyond demographic data. Really understanding what makes them tick, or developing a persona

GO SMALLER UNTIL YOU CAN FINISH IT. If you're still struggling to finish you haven't reduced your scope enough in all three of the above areas

It's always easier to practice skills on their own than within a huge project where they will make or break the game and there are 16 interactions for everything you put into the project

Before you start developing a game for commercial release, you should already be confident that you can execute every major part of the development process.

And that difference is all about scope. If there is one thing you need to think about when starting a game project, it's scope.

from experience, gamemaker does a phenomenal job with making simpler games that perform how you want it to, without having to worry about extra things that may not pertain to the kind of project you wish to make. you can think of gamemaker as more of a blank slate, and you add what you need versus unity being more general and having a lot of components and tools that you most likely won't have to use.

People seem to overlook this when comparing the two, there’s a difference between making a game WITH unity versus making a game ON core.

Create a user journey storyboard to clarify what your players do in each play session, what types of players are playing your game, their daily or weekly gameplay, their environment, and the community behaviors you want your players to embody.

Designers will often fixate on a mechanic without figuring out the core loop, but understanding what systems you want your players to go through will help you understand what features to focus on, and which ones can be postponed or even cut

‘He knows everything that’s happened fromB’reshis [Genesis] to today’, it went, ‘and it really isn’t work to him – it’s merely play’,a sentiment later expressed when one colleague wrote of Deutsch’s ‘game of cards’(Margolis, 1921).3

Countering represents a writer attempting to “suggest a different way ofthinking” as opposed to attempting to “nullify” a writing (p. 57).

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

The GameStorm conceptualization tool in action during the Make Your Own Game activity

at I call the game of school.

Magie's game was becoming increasingly popular around the Northeastern United States. College students attending Harvard, Columbia, and University of Pennsylvania, left-leaning middle class families, and Quakers were all playing her board game. Three decades after The Landlord's Game was invented in 1904, Parker Brothers published a modified version, known as Monopoly. Charles Darrow claimed the idea as his own, stating that he invented the game in his basement. Magie spoke out against them and reported that she had made a mere $500 from her invention and received none of the credit for Monopoly.[7] In January 1936, an interview with Magie appeared in a Washington, D.C. newspaper, in which she was critical of Parker Brothers. Magie spoke to reporters about the similarities between Monopoly and The Landlord's Game. The article published spoke to the fact that Magie spent more money making her game than she received in earnings, especially with the lack of credit she received after Monopoly was created. After the interviews, Parker Brothers agreed to publish two more of her games but continued to give Darrow the credit for inventing the game itself.[11] Darrow was known as the inventor of Monopoly until Ralph Anspach discovered Magie's patents and her relation to the Monopoly game while fighting a legal battle with the Parker Brothers because of his Anti-Monopoly game. Subsequently, her invention of The Landlord's Game has been given more attention and research. Despite the fact that Darrow and the Parker Brothers capitalized on and were credited with her idea, she posthumously received credit for one of the most popular board games.[3]

Summarization of Methods for Smart Contract Vulnerabilities Detection

The ideas expressed in Creative Experience continueto have an impact. Follett’s process of integration, for example, forms the basisof what is now commonly referred to as a ‘‘win-win’’ approach to conflictresolution; and her distinction between ‘‘power-with’’ and ‘‘power-over’’ hasbeen used by so many distinguished thinkers that it has become a part of ourpopular vocabulary. ≤

Games are like that. Everyone thinks because games are easy to play, they must be easy to make. The challenge of a making a game is significantly harder. When we design a utilitarian tool, we have to make a complex set of requirements simple and easy to use for the user. But when making a game, we have to take equal amounts of complexity and make it simple, easy to useand fun. If a game is not satisfying to play, people will put it down. If excel is not satisfying, people will soldier on because math is more unpleasant than excel.

competitions or leaderboards, where players can compare their achievements with those ofother players, so that they are incited to do better than they did up to now• narratives, in which the challenges are situated within a concrete context or storyline, so thatindividual actions become part of an extended course of action within a meaningfulenvironment (Dickey, 2006; Heylighen, 2012a)• epic meaning, in which the impression is created that the player is working to achieve a goalthat is particularly important or awe-inspiring (McGonigal, 2011)• trophies or virtual goods, in which players receive virtual presents as a reward for theirachievement• gifting, in which players get the opportunity to give virtual presents to other players, thustightening links of friendship

The result is that the best games tend to be addictive, as playersare so strongly motivated to continue the play that they find it difficult to get back to their normalactivities (Grüsser, Thalemann, & Griffiths, 2006; Kim, Namkoong, Ku, & Kim, 2008).

In game theory, a focal point (or Schelling point) is a solution that people tend to choose by default in the absence of communication. The concept was introduced by the American economist Thomas Schelling in his book The Strategy of Conflict (1960).[1] Schelling states that "(p)eople can often concert their intentions or expectations with others if each knows that the other is trying to do the same" in a cooperative situation (at page 57), so their action would converge on a focal point which has some kind of prominence compared with the environment. However, the conspicuousness of the focal point depends on time, place and people themselves. It may not be a definite solution.

new random hand

Can you reach net zero by 2050?

the underprivileged are priced out of the dental-treatment system yet perversely held responsible for their dental condition.

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.

Elinor Ostrom

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

Google killed SG&E about one year after Stadia launched, before the studio had released a game or done any public work. In a blog post announcing Stadia's pivot to a "platform technology," Stadia VP Phil Harrison explained the decision to shutter SG&E, saying, "Creating best-in-class games from the ground up takes many years and significant investment, and the cost is going up exponentially."

#5. Game of Thrones - The Rains of Castamere

#3. Game of Thrones - The Winds of Winter

#2. Game of Thrones - Battle of the Bastards