店長ブログ

釣りエサ専門店SABANIZM店長のブログです。

2020年2月25日火曜日

Crime Pays, As Long As You Don'T Get Caught

Burgle Bros. is an entertaining and well-designed game about robbing an office building. Players take on the roles of a colorful cast of criminals (I'm sure they're well-meaning) and work together to find a hidden safe on each of three floors of the building, and then escape to the roof. If anyone is caught by a wandering guard, the whole team loses the game.

Each floor of the building is represented by a 4x4 grid of face down tiles. Players reveal them by moving onto them, or they can play it safe by spending extra movement to peek ahead at an adjacent tile before moving. Movement between tiles is somewhat hampered by wall pieces that are placed between certain tiles (depending on the game setup). The tiles represent different locations in the building, some helpful and some not. Alarms can be tripped, computer rooms can be hacked, but the ultimate goal for each floor is to find two tiles: the safe, and the stairs to the next level.

Once the safe is found, the combination needs to be cracked by rolling dice and matching the numbers to those printed on the tiles in the same row an column as the safe (so even if you get lucky and find the safe and the stairs right away, you still need to explore at least some of the other tiles). The player who opens the safe draws a loot card, which will most likely do something to make movement more difficult, and a tool card, which generally gives a helpful ability.

Lest this all seem too easy, each floor has a wandering guard and a deck of cards that randomly determines his destination. The guard takes the shortest path to his destination tile, then draws another destination and continues moving. If a guard moves onto a player's tile (or vice versa), the player has to discard a stealth token or be caught! Players start the game with three tokens, and once they're gone, if the guard catches you again the whole team loses the game.

It's as much a puzzle as it is a game, with the primary strategy being how to move around the tiles without being caught by the guard. Some tiles set off an alarm when you move on to them, which can be used tactically to change the direction the guard is moving (when an alarm goes off, the guard immediately changes his destination to the tile with the alarm). The characters chosen by the players each have a unique ability as well -- some can move through guards or slow them down.

The graphic design and artwork have a refreshing retro 1960s look, and the "crime caper" theme makes for a nice change from fighting orcs or being driven mad by Lovecraftian horrors.

Rating: 4 (out of 5) You know it's a good cooperative game when after you lose you immediately start talking about what you could have done differently, and then set up to play again.

2020年2月24日月曜日

Oceanhorn 2: First Gameplay Video And Screenshots!

Since many of you can't make it to the Nordic Game conference in Malmö, Sweden – we decided to capture a video of our demo! The video is unedited footage that is captured on an actual iPhone 7 Plus.

If you happen to be in Nordic Game, come visit us at Epic's booth and try out the demo yourself! I will keep it short and let the video and screenshots speak for themselves.


 
Oceanhorn 2's Hero lives near ancient structure called Beacon.


Try and catch me!
Home sweet home and trusty old training dummy
So this is why the treasure is still here!
Arne Village is the starting location of Hero's adventures
Hero can carry and throw all sorts of objects
Owru houses
Journey will take Hero around the world

Galactoss will not suffer fools. Watch out for your healthbar!

2020年2月22日土曜日

Storium Theory: Inaction In Action

Sometimes, I see players make comments in a game, explaining why they haven't made a move in a challenge so far:

"I don't think this is something my character knows how to deal with."

"I'm not sure she cares about this."

"I think he's just kind of stunned right now.

"She doesn't know what to do."

Sometimes these are indications of a problem in the story - if all of a narrator's players are telling him their characters don't care about the current situation, it is probably time to revise the situation and figure out how to better relate it to the story at hand.

But...more often, they're a statement that is actually pointing directly at a very interesting opportunity for the character: A chance to make inaction your action.

When you're writing the story of a challenge, things are happening, whether your character is acting on them or not. Each move drives the timeline of the challenge forward. When a card is played, something happens, and the challenge moves positively or negatively, or just towards the end of its story.

So...if your character, for instance, doesn't know how to deal with something, and chooses not to act...that's a choice. And that's his "action" for that moment in the tale.

So let it be an action! Make your move! Show your character's uncertainty or confusion about what to do! Show how your character hasn't cared about the situation, if that's the case, and chooses to ignore it! Show how the situation has left your character stunned, or how he's tired and needs rest, or how his injuries prevent him from joining the battle!

Sometimes, those things are treated as reasons not to make a move, but...that's not what they should be. They are, in fact, excellent opportunities to make moves.

Especially...especially...if you have either Weakness cards to play, or a Subplot.

I'm stunned. I'm confused. I'm shell-shocked. I'm injured. I'm exhausted. I just plain don't care about this.

Those are all excellent weakness plays.

When a situation is ongoing and your character chooses not to do anything about it, that's a great opportunity to show what starts going wrong with the situation because your character is not preventing it. Philosophically, there's nothing really different here from if things start to go wrong and your character tries to prevent it and fails because of a Weakness, right? Something goes wrong either way. The difference is just that your character, in this case, didn't do something to stop it instead of doing something but getting it wrong.

What about Subplots? Well, Subplots are great for these situations too! When a character is shocked into inaction, when she finds something she doesn't care about, when he struggles to understand what he's supposed to do in a situation...those are great times to explore the other mysteries in a character's life or the things the character does care about. There are some excellent subplot moves available that show how the character withdraws into themselves, or starts thinking about how all this ties in with their personal problems, or tries to examine where they are right now...and because of all that, something starts to happen in the current situation, and they're not really sure what to do in the face of it...or even if they should do something.

A subplot isn't a weakness play, mind, so chances are nothing ends up going outright wrong right away, but you can certainly hint that something will! While your character is distracted by his own thoughts, or full of self-doubt, or struggling with what he's supposed to do, or disinterested in what is happening, how does the situation evolve?

If your character doesn't seem certain of what's going on, or doesn't know what to do, or just plain doesn't care...don't just drop out of the challenge. Use that to advance the challenge.

Now...one more point on this. Especially in the case of a character that "doesn't care" about a challenge, this can actually be a great way to figure out what would make them care, and therefore explain how a Strength comes into play, or at least how they get involved in the challenge despite their feelings. If you find yourself thinking that your character just wouldn't get involved for some reason or another, put a little time into thinking about what might happen because of that decision.

Then, write a move based on that...and maybe, maybe midway through the move, you'll realize the character now does know what to do, or does care about the situation, as she sees what is about to happen, or starts watching something she does care about slip away.

Maybe that leads to the character using a Strength and turning things around after all. Or maybe the character ends up doubling down on fear or uncertainty, or just takes the wrong action, using a Weakness. Or maybe, the character's Subplot drives him forward, making him engage with the challenge now that he's seen what it could mean if he doesn't.

Now...this isn't something you need to pull in all the time. (And to be clear, if you find yourself constantly trying to figure out why your character would get involved in something, it may be time to talk to the narrator about how to make your character mesh better with the story.) But there are times when an inability to think about something that your character would do can itself be precisely what drives the story forward and makes an interesting situation.

Don't overuse this, but...keep it in the toolbox. It's a handy trick to pull out and it can lead to some astonishingly interesting moments for a character if used properly.

Remember Spider-Man and Uncle Ben...sometimes, when your character doesn't take action, that ends up driving his story more than anything else.

Tech Book Face Off: Facts And Fallacies Of Software Engineering Vs. Programming Pearls 2

Since I've been hitting the tech books pretty hard for a while now, for this Tech Book Face Off I wanted to take a bit of a breather and do a couple of relatively easy reads. These books have been on my to-read list for some time, so I decided to finally check them out. The first one, Facts and Fallacies of Software Engineering by Robert L. Glass is a book in a similar vein as The Pragmatic Programmer in that it relates various tidbits of advice on the craft of software engineering. As for Programming Pearls 2 by Jon Bentley, this book surprised me. I thought it would be somewhat similar to Facts and Fallacies, just more directly related to instructive programming examples than to the software engineering field at large, but it turned out to be quite a bit different, as we'll see in this review.

Facts and Fallacies of Software Engineering front coverVS.Programming Pearls front cover

Facts and Fallacies of Software Engineering

Robert L. Glass is an odd duck. His writing is at the same time strongly opinionated and calmly easygoing. He adamantly argues for each of his observations as 55 facts, with 10 fallacies thrown in at the end, but his discussion of each one is quite conversational. He admits that not everyone will agree with his facts, even though he provides evidence and sources for them. (Well, he does for a majority of them, at least.) I found this book a quick, enjoyable read, and it was worthwhile even if I didn't always agree with his propositions because they always made me think. I'd much rather read a book that I sometimes disagreed with if it challenges me, than a book that's poorly written and says everything I want to hear.

I'm not going to relate every fact and fallacy from the book here, since that would make this review nearly as long as the book, but they do cover the gamut of software engineering. I'll describe them in broad strokes and discuss a few that I found especially interesting.

The first chapter deals with software management related things. The facts are broken up into smaller sections of people (the software engineers), tools and techniques, estimation, reuse, and complexity. A full 22 facts are covered in this chapter, including one about how tools and techniques are over-hyped that I found particularly thought-provoking. Even back when this book was written in 2002, tools were being promoted as a panacea for software development problems while they were simultaneously showing diminishing returns, and Glass was having none of it:
Time was, way back when, that new software engineering ideas were really breakthroughs. High-order programming languages. Automated tools like debuggers. General-purpose operating systems. That was then (the 1950s). This is now. The era of breakthrough techniques, the things that Fred Brooks (1987) referred to as silver bullets, is long since over. Oh, we may have fourth-generation languages ("programming without programmers") and CASE tools ("the automation of programming) and object orientation ("the best way to build software") and Extreme Programming ("the future of the field") and whatever the breakthrough du jour is. But, in spite of the blather surrounding their announcement and advocacy, those things are simply not that dramatically helpful in our ability to build software.
What's most interesting is that 17 years later, the hype machine hasn't stopped, and it shows no signs of slowing down. I wouldn't say that's surprising, given that software engineering is such a massive sector, and people continue to try to make money off of it however they can, but it shows how relevant this book still is. Advances in software engineering ideas do still happen, but they are still incremental. It isn't that incremental is bad, but it is all that we should expect now. Productivity free lunches aren't likely to come about anymore until the next breakthrough technology happens, and that may not be software but something else entirely.

Chapter 2 is about the software life cycle with sections on requirements, design, coding, error removal, testing, reviews and inspections, and maintenance. Maintenance in particular is a fascinating subject in software because it ends up taking the majority of the time and cost of any given project, mostly without our realizing it. It's also quite difficult and no one wants to do it because the documentation sucks. There's a reason for that:
To solve those problems, software people have invented the notion of maintenance documentation—documentation that describes how a program works and why it works that way. Often such documentation starts with the original software design document and builds on that. But here we run into another software phenomenon. Although everyone accepts the need for maintenance documentation, its creation is usually the first piece of baggage thrown overboard when a software project gets in cost or schedule trouble. As a result, the number of software systems with adequate maintenance documentation is nearly nil.
Here we can see both Glass' conversational writing style and the reasonable way of thinking that he shows in most of his facts and fallacies. It's hard to argue with this one, especially because I think most of us have been in similar situations.

The next chapter is about software quality, including sections on quality, reliability, and efficiency. Like the other chapters, these facts are mostly obvious to anyone who has been working in the field for more than a few years, but it's always good to refresh your memory on these ideas. The last chapter of facts is just a single fact on research: many researchers advocate rather than investigate. I can't say whether or not this is true from my own experience or reading, but I'm not too concerned about it.

Starting with chapter 5, the next three chapters deal with the 10 fallacies. Chapter 5 loops back around to management with similar sections to the first chapter. The fallacies include things like, "you can manage quality into a software product," and "software needs more methodologies" that are hard to argue with. You can't, and it doesn't. The next chapter mirrors chapter 2 with some fallacies on the software life cycle. I thought he was unfair in his discussion of the fallacy, "given enough eyeballs, all bugs are shallow" by saying:
This is probably just wordplay. But it is patently obvious that some bugs are more shallow than others and that that depth does not change, no matter how many people are seeking them. The only reason for mentioning this particular reason here is that too many people treat all bugs as if their consequences were all alike, and we have already seen earlier in this book that the severity of a bug is extremely important to what we should be doing about it. Pretending that turning scads of debuggers loose will somehow reduce the impact of our bugs is misleading at best.
This seems like a deliberate misinterpretation of the idea of the quote. It's not saying that more eyeballs will make bugs less critical. It's saying that any given bug is easier to find if more people are looking for it because the more people that look for the bug, the more likely that a person with the right expertise will see it and be able to fix it quickly. Or it will be more likely that someone looking for the bug will randomly happen to look in the right place and spot its signature quickly. However, I think there are still issues with depending on this approach for open source software development, but for other reasons. Most open source projects don't have the luxury of having hundreds or thousands of programmers working on it. Frankly, most projects are lucky to have more than one programmer working on it, so the responsibility of finding and fixing bugs still falls on the programmer writing the code. Even if the project has high visibility, pull requests need to be of high quality, or more bugs will be introduced over time than will be fixed and the whole project will degrade.

I also took issue with the fallacy in the last chapter: "you teach people how to program by showing them how to write programs." Don't get me wrong, I do think this statement is false, but for different reasons than Glass gave. He thinks it's more important to teach budding programmers how to read code and that academia isn't doing that:
I know of no academic institution, or even any textbook, that takes a reading-before-writing approach. In fact, the standard curricula for the various computing fields—computer science, software engineering, information systems—all include courses in writing programs and none in reading them. 
I disagree on three counts. First, let's get the easy one out of the way. Programming is about more than writing or reading code. Teaching programming involves teaching critical thinking skills, problem solving, systems thinking, user psychology, and so much more! Second, and more directly related to his reasoning, the exact same approach is used in mathematics. Schools teach students how to write math solutions well before teaching them how to read math solutions. Most people will never get to the point of reading and understanding mathematical proofs, but everyone starts with solving basic arithmetic problems. That's how we start in programming, too—by writing basic programs.

Third, I would argue that universities and textbooks are, in fact, teaching students to read programs at the same time as writing them. The examples in the books are all there to read, and the student must read and understand them in order to write their own functioning programs. The first example programs may be short and simple, but I would hardly expect someone brand-new to programming to read hundreds of lines of code without first being taught the syntax. Learning to read is unique in that the student is being taught a skill that is required in order to learn most other skills, so of course we learn to read before we learn to write, but not much earlier. We start learning both in kindergarten, right? Besides, most people don't know how to read effectively anyway, even though they technically learn to read first, so I don't see why a pure reading-before-writing approach to programming would necessarily be better than what is currently being done.

As you can see, some topics in this book are quite controversial, and that's why I really enjoyed it. No one who reads this book will agree with everything, and that's okay. It's meant to raise a debate, and Glass does a great job of presenting a strong case that you can take a stance against if you disagree. It got me thinking over ideas that I've held on to for a long time, and we all need that from time to time. It's also a fairly short book, so there should be no excuse to not read through it. I highly recommend it.

Programming Pearls 2

In the introduction I said this book surprised me, and what I meant by that was that it was not at all the book that I expected. From the title alone, I was expecting a book similar to Facts and Fallacies of Software Engineering in that it would relate a number of experiences and advice from Jon Bentley's career about how to do software development more effectively. I suppose that's what this book is, in a way, but it's more of a combination of an informal algorithms book and a practice set of programming problems.

It's not nearly as thorough or rigorous as Introduction to Algorithms (CLRS) or Algorithms by Sedgewick, but it gives a passable review of most of the fundamental algorithms for sorting, searching, and storing data. The first chapter starts off with an interesting little algorithm that I had never seen before on sorting a list of numbers with a restricted range using an array of bits. In this case it was telephone numbers, and it was accompanied by a story about how he was helping a new colleague with a problem, but the algorithm itself could be useful in plenty of situations. 

The next chapter continued the thread from the first chapter with a few more problems that could be neatly solved with novel algorithms, like finding all possible anagrams or swapping unequal halves of an array. The third chapter covered ways to make programs much more efficient by correctly structuring the data that was being manipulated. The classic example is using an array instead of a set of numbered variables, but Bentley gave other examples as well, like creating a simple template language for form letters. 

Chapter 4 was all about program correctness, using the binary search algorithm as a conduit for discussing the pitfalls of complexity and how to formally verify a program (or at least a function, since formal verification just doesn't scale). The last chapter in this first part of the book quickly covers testing, debugging, and performance timing. That completed the preliminaries, which is what the first part of the book was about, and throughout these chapters Bentley had short, direct advice about how good programming was about balance:
Good programmers are a little bit lazy: they sit back and wait for an insight rather than rushing forward with their first idea. That must, of course, be balanced with the initiative to code at the proper time. The real skill, though, is knowing the proper time. That judgment comes only with the experience of solving problems and reflecting on their solutions.
I think some later writers in the field took this idea of the lazy programmer to the extreme, but I like this nicely moderated perspective more. He had a similarly measured view about performance optimizations:
Some programmers pay too much attention to efficiency; by worrying too soon about little "optimizations" they create ruthlessly clever programs that are insidiously difficult to maintain. Others pay too little attention; they end up with beautifully structured programs that are utterly inefficient and therefore useless. Good programmers keep efficiency in context.
There are no universal answers in programming, so there shouldn't be any universal advice, either. These comments make the point that you can't turn off your brain when programming. You have to constantly consider everything that would have an effect on the problem at hand in order to come to a more optimal solution.

The second part of the book is all about performance. Chapter 6 kicked things off with a look at the n-body problem in physics for simulating the forces that bodies exert on one another. Making the simulation fast was not only about developing a good algorithm, but also using the right data structure, tuning the code for the machine it was running on, and optimizing performance critical loops in assembly. A recurring theme in the book was that there's no silver bullet, and this case study exemplified that with its multifaceted optimization process.

The rest of the chapters in this section expanded on the ideas brought up in chapter 6. Chapter 7 talks about how to estimate with back of the envelope calculations. Chapter 8 discusses various algorithm design techniques including the all important divide-and-conquer approach. Chapter 9 delves into when and how you should do code tuning to get the biggest benefit. Chapter 10 looks at how performance can be improved by reducing space, both of the program code and the data that it operates on. Every chapter had succinct little examples and highly condensed code to show the essence of optimized programs, along with interludes of advice like this:
[E]very now and then, thinking hard about compact programs can be profitable. Sometimes the thought gives new insight that makes the program simpler. Reducing space often has desirable side-effects on run time: smaller programs are faster to load and fit more easily into a cache, and less data to manipulate usually means less time to manipulate it. The time required to transmit data across a network is usually directly proportional to the size of the data. Even with cheap memories, space can be critical. Tiny machines (such as those found in toys and household appliances) still have tiny memories.
It's good to remember that not all programming is done on massively powerful processors, even today with a supercomputer on every desk and in every pocket. We have just as many small processors with limited memory and a tight power budget doing plenty of complex calculation tasks.

That brings us to the last section of the book on five interesting programming problems. The first one is on sorting with quicksort. The second one is about how to draw a random sample from a larger collection. The last three are on searching, heaps, and strings. The last problem dealing with strings was a great way to end because it was actually about how to teach the program how to generate english words and sentences using example material. It was a chapter on machine learning written before it was cool.

On the whole, this book was a fairly enjoyable, quick read. Bentley is clear and to the point, even to the point of being abrupt. As an algorithms book, it's not up to the level of the more formal algorithms books, and it wouldn't be very useful as a first book on that material. It is a good summary of the basic sorting and searching algorithms with some interesting unique algorithms thrown in to spice things up, making it a decent review for the more experienced programmer. If you're looking for an easy second or third book on algorithms to peruse, it's worth picking up.


So it turned out that these two books are not directly comparable, but hey, it happens. They were both enjoyable reads. I would say Facts and Fallacies of Software Engineering was somewhat more enjoyable than Programming Pearls 2 with Glass' way of challenging your assumptions and long-held beliefs, but both books are worth a look in their own right. Programming Pearls 2 does a good job of reviewing the field of algorithms with a few novel ideas thrown in the mix. It all depends on what your interested in at the moment: high-level software engineering issues or algorithmic programming problems.

2020年2月21日金曜日

Download Flash Mod For Gta Sandeas














to see the control go to discription

                                                                   discrription

to activate the flash press=TABE+QorE
to run faste press=w+x+space
to activate more contron see
F5: Toggle On/Off Power Level Control
F6: Show power bar
F7: Toggle on/off for Super Speed (press + to increase speed and - for decrease)
F8: Super Jump (no need to)
press Y or N: toggle on/off Walk on water
Tab: bullet time
To do wall-run: press W + Jump to the wall and hold
You can hold X:  to run faster without Super Speed ability (F7

F9:Flying Jump
F10 Fly
F11 Super Strength
F12 Heatvision
F4 to turn ON/OFF


               NOTICE: Please try this mod on clean GTA SA (no mod installed before)



plese first download win rar software (you coud not download winrar software your mod is not                                                                                                                                                            (working)
                                             




                                                                     get winrar from here




mod password is fulla1
click here to download flash mod= here







                                                                 




























Uncertainty

I have already discussed in this post and this another post how anxiety and fear, which are disturbing feelings by definition, can play a major role in the designing of digital games. People's desire to experience horror/terror games, or games that present many stressful situations, has created an interesting and profitable market niche, congregating a large number of players who are really enthusiastic about this kind of experience.

There are other disturbing feelings that can be strategically used in the process of game design. Today I would like to talk about uncertainty in games.

In this context, I ought to mention the book Uncertainty in games (2013), written by Greg Costikyan—the man behind classic games like Paranoia and Toon RPGs.

Costikyan (2013, p.16) argues that in real-life situations—like when we're shopping online, electing a congressman or using software for work—we want no uncertainty, "we prefer simplicity, surety, and consistency." While we always look forward to eliminating uncertainty when it concerns quotidian situations, products, and services, when it comes to games "a degree of uncertainty is essential" (COSTIKYAN, 2013, p.16), for it is a key factor in creating an immersive and entertaining experience for players.



How would you imagine a version of Dark Souls where enemies could be killed by a single weak blow from your shitty level-one weapon? Would you like to play a Super Mario Bros. game that lacks deadly cliffs and requires jumping just to collect coins?

Costikyan (2013, p.17-71) analyzes different kinds of games and explains that sometimes uncertainty comes from programmed random results; other times, uncertainty lies within opponents and how they perform; ultimately, uncertainty may result from the player's own abilities in the game.

I strongly recommend the book cited herein, and I would like to invite you to analyze ten of your favorite games (digital or analogic) in the light of this post. Try to figure out what kind of features caught your attention in those games—uncertainty was probably one of them.

#GoGamers



Reference:

COSTIKYAN, Greg. Uncertainty in games. Massachusetts: MIT Press, 2013.

As Long As I'm There...

I started to clear the table this morning but it seemed a shame to clear it after a single game so.......



Now that my 54's are back on their Volley & Bayonet/Morschauser style 3" unit bases, the grid is less useful than it was. I still had the measuring sticks I made a couple of years ago with brightly coloured 3" segments. It is easy to use and read in dim light even without glasses and also makes the grid less useful as long as all ranges and moves are in multiples of 3".


Since it's not quite a Square Brigadier game I quickly scribbled a one page variation but decided to experiment with getting a bit more radical and  leaving out  even more detail and removing more unit action options since I was going to be playing a Thomas scenario anyway. By and large it worked and a play through only took about an hour using roughly 1/2 the planned total number of units per side.  I think I want to bring back a bit more colour and more player decisions but its going to take some thought and experimentation.

2020年2月20日木曜日

Storium Theory: Questions And Answers

A while back, I wrote a post on making trouble: The technique by which players could elaborate on the dangers or problems their characters encounter as they wrote the story of a challenge, rather than just leaving the troubles to what the narrator initially established.


When you're writing on a challenge, you're writing not just your own character's story but the story of the challenge itself. I've already written a great deal on the need to write not just your character's actions, but the results of those actions, and how those results impact the challenge going forward.

I've also written on the need to leave things open for other players to use.

Today, I'd like to take another look at that, from a slightly different angle: Questions.

When you are writing any story, the thing that gets readers involved is questions. You establish questions early on, and as the story goes on, you provide answers to those questions. That's the cycle of a story. Create mystery or uncertainty in the early going, and provide truth and certainty later on. I think we tend to understand that in writing pretty naturally - it's easy to get the idea that for the story in general, for instance, I would be starting out a story asking the question of "Who can defeat Doctor Fear?" and end up answering it with "Bravery Man can defeat Doctor Fear!" by the end.

Silly superhero names aside...we get that part, right?

But smaller parts of a story follow the same cycle. Challenges, for instance, are all about questions and answers.

The existence of the challenge itself presents a question. Usually, the answer is in the form of one of the final outcomes of the challenge, as written by whoever plays the final card. But that isn't the only question and answer cycle that can be contained in a challenge.

As I've mentioned in prior articles, telling the story of the challenge is up to the players once it is established...and thus, the players have the opportunity to define further questions asked by the challenge, and to answer those questions.

This goes back, somewhat, to the concept of making your own trouble, but questions aren't always about trouble. They're about mystery, or about the unknowns of a challenge. They might be about what's going to happen next...but they might also be about what just happened. Why did it happen? What was the cause? Or, what is the consequence?

The early moves of a challenge are about questions. The later moves are about answers.

To put it another way, you don't want to get too definitive too early.

If you're playing a Strength card on a challenge, you want to move the challenge in a positive direction related to the Outcomes. That's fine, that's expected, that's what you should do. But you also want to look at where, exactly, you are in the challenge's story.

Is this late in the challenge's story, or early?

Should you be wrapping up challenge elements? Or is this the point where the story of the challenge is still being established?

If this is the second card play of a nine-card challenge, well, you're probably still more at the establishing point of the challenge's tale. Everything still feels uncertain, unclear. Even if you're moving the challenge in a positive direction, it shouldn't feel stable. The gains shouldn't feel firm.

There should be questions.

The gains made by Strength plays feel uncertain, perhaps even risky. There are open questions about how they can be maintained. The positive movement of the challenge feels tentative.

Save solid gains for later in the challenge, or especially for points where based on the Strength/Weakness balance of a challenge, it feels unlikely (or even impossible) for it to turn back to Weak. Late in a challenge, when there's three Strengths on it and only one Weakness with one or two cards left to go, that's the time to do something like managing to fell the enemy commander and drive the army into disarray, or find the one solid lead that gets you to the person who knows what you need to know - and all you have to do is convince him to share.


The same can be said of Weaknesses, too! When a challenge is in the early going, Weakness plays are about establishing the potential for things to become very bad. They're about putting your character into trouble, or having your character cause a problem that might become truly devastating in time. If the second card play of a nine-card challenge leaves the allied lines entirely routed, or leaves one of the player characters down and out...that might be pushing things too far. But towards the end of a challenge, especially when the Weaknesses have the Strengths outnumbered, well, those might just be exactly what is called for.

Depending, of course, on the nature of the challenge and the outcomes!

So...what you want, in the early going, are questions. Uncertain situations, things that are still a little up in the air. Maybe they're trending one way, or maybe the other. Or maybe, especially with neutral cards, they're totally uncertain. But...they're questions. They're situations that still need to be resolved. Mysteries that still need their truth.

When I say "questions," now...I don't mean literal, straight-up questions, worded as such. I don't mean that you write in, "Mighty Arnbjorg struck forth into the enemy lines and drove the defenders back, but has he dared too much? Will the enemy swarm in around him?" That's actually a great question to ask...but that's not how I'm suggesting you write it. If the end of your move leaves you thinking you should really tag on "Find out next episode!" you're probably being a little bit too direct.

Questions are things you draw from a story, not things the story shoves in your face.

So if you're writing that bit, instead, what you do is write about how Arnbjorg's attack drives back the enemy, and they are temporarily stunned and confused by the sudden ferocity of their foe. But the commanders are shouting orders, and the enemy ranks are starting to form up again. The enemy general is shouting to regain order, and pointing his sword at Arnbjorg. The enemy's attention is on him.

The question is understood. Will Arnbjorg's gains be able to be held? Or will the enemy swarm back in and put him in danger now?

And late in the challenge? That's when the answers start coming in force. The final few moves of the challenge introduce answers to the lingering questions of the challenge - the questions asked along the way by other player moves, and finally the questions that established the challenge in the first place.

When you're making moves in the latter half of a challenge, or further, that's when you need to take a good look at what is still out there to be answered. What doesn't feel like it has been resolved? If you aren't writing the final move, don't resolve everything, but maybe there are still some things that are lingering out there and you can wrap something up. Maybe earlier, Arnbjorg was shown fighting for his life and for the line against the enemy after he managed to break in among their defenses...and that situation still feels like it needs an answer. Now's your chance. Do your character's actions stabilize Arnbjorg's gains at last? Or does something go wrong in the attempt and lead the enemy to swarm in at last?

Transform uncertainty to certainty. This situation has now definitely gone right...or definitely gone wrong. There's no longer a feeling that this element of the story can go a different way. Arnbjorg and Skjoldis hold the line solidly, preventing the enemy from gaining access that way...or, Arnbjorg and Skjoldis are forced to withdraw, and the enemy breaks through and can't be driven back that way. An answer.

Now...there's nothing wrong with answering something earlier in the challenge, or questioning something later. This isn't a hard and fast rule. It's a guide. Early in the challenge, tend towards questions. Late in the challenge, tend towards answers.

The reason is...questions provide opportunities. They leave things open for other players. They give inspiration, so someone can further the story of a challenge. Answers, meanwhile, close doors. When a situation is resolved, the part it played in the story is over and players need to look elsewhere for inspiration. So: By asking questions early in a challenge, you provide lots of inspiration for other players to use. But late in a challenge, you don't want to risk leaving dangling plot threads or forcing the final player to wrap up every little bit of a challenge...so it's time to start closing some of the extra doors so that the final player only has the main challenge questions (or close to that) left to resolve.

This isn't the only way to think of a challenge's story, and I don't think it's something you should hold in your head as some kind of sacred, infallible rule...but it's a helpful way to think about how you can write on a challenge, and I think if you take a look at moves - yours, and others - and ask yourself, "What questions are asked?" and "What answers are given?" you will find your challenge writing feeling more like a full, cohesive story.

Ring Doorbell Sale: Get A Free Echo Dot And Save On The Ring Doorbell 2 At Best Buy - Ars Technica

Ring doorbell sale: get a free Echo Dot and save on the Ring doorbell 2 at Best Buy

2020年2月14日金曜日

Brave Browser voted the best privacy-focused product of 2020



Out of all the privacy-focused products and apps available on the market, Brave has been voted the best. Other winners of Product Hunt's Golden Kitty awards showed that there was a huge interest in privacy-enhancing products and apps such as chats, maps, and other collaboration tools.

An extremely productive year for Brave

Last year has been a pivotal one for the crypto industry, but few companies managed to see the kind of success Brave did. Almost every day of the year has been packed witch action, as the company managed to officially launch its browser, get its Basic Attention Token out, and onboard hundreds of thousands of verified publishers on its rewards platform.

Luckily, the effort Brave has been putting into its product hasn't gone unnoticed.

The company's revolutionary browser has been voted the best privacy-focused product of 2019, for which it received a Golden Kitty award. The awards, hosted by Product Hunt, were given to the most popular products across 23 different product categories.

Ryan Hoover, the founder of Product Hunt said:

"Our annual Golden Kitty awards celebrate all the great products that makers have launched throughout the year"

Brave's win is important for the company—with this year seeing the most user votes ever, it's a clear indicator of the browser's rapidly rising popularity.

Privacy and blockchain are the strongest forces in tech right now

If reaching 10 million monthly active users in December was Brave's crown achievement, then the Product Hunt award was the cherry on top.

The recognition Brave got from Product Hunt users shows that a market for privacy-focused apps is thriving. All of the apps and products that got a Golden Kitty award from Product Hunt users focused heavily on data protection. Everything from automatic investment apps and remote collaboration tools to smart home products emphasized their privacy.

AI and machine learning rose as another note-worthy trend, but blockchain seemed to be the most dominating force in app development. Blockchain-based messaging apps and maps were hugely popular with Product Hunt users, who seem to value innovation and security.

For those users, Brave is a perfect platform. The company's research and development team has recently debuted its privacy-preserving distributed VPN, which could potentially bring even more security to the user than its already existing Tor extension.

Brave's effort to revolutionize the advertising industry has also been recognized by some of the biggest names in publishing—major publications such as The Washington Post, The Guardian, NDTV, NPR, and Qz have all joined the platform. Some of the highest-ranking websites in the world, including Wikipedia, WikiHow, Vimeo, Internet Archive, and DuckDuckGo, are also among Brave's 390,000 verified publishers.

Earn Basic Attention Token (BAT) with Brave Web Browser

Try Brave Browser

Get $5 in free BAT to donate to the websites of your choice.