Saturday, March 28, 2020

HOTT 52 - Battle 4 - Attack On An'Burkag's Encampment

I fought my HOTT 52 Week 4 battle over lunch today and had a blast! I tried out the Magician unit for the first time. After the battle report, I'll give you my thoughts on this unit and how it plays out.

To create my armies I have tables that represent armies when they're all militia, all regular/professional, or a mix of the two. Regular armies have (more) elements like heroes, magicians, blades and knights. Militia armies have more of riders, warbands, spears and hordes, plus the cleric that sees to the needs of the common folk pressed into service!

This battle, I wanted to mix it up, so I rolled randomly for regular/militia or militia/regular, then rolled to see which exact army was to be used. The human army would be a militia/regular army. The Orc army, led by the War Chief An'Burkag, would be regular/militia.

Humans
General/Spear x1 (2 AP)
Spears x3 (6 AP)
Shooters x2 (4 AP)
Riders x2 (4 AP)
Knights x2 (4 AP)
Blades x2 (4 AP)
Orcs
General/Knights x1 (2 AP)
Knights x1 (2 AP)
Blades x4 (8 AP)
Spear x2 (4 AP)
Shooters x2 (4 AP)
Magician x1 (4 AP)



The orcs were supposed to have Spear x3 and Hordes x2, but I swapped them out for the Orc Shaman as my Magician experiment.





The orcs lined up outside of their camp, howling and cursing at the humans who appeared on the horizon. They anchored their right flank with an impassable hill.

The human commander put her knights and riders on the flanks with the intent of sending the speedy riders to threaten the stronghold or Orc reserves.



The Orc Shaman Oz'turk, seeing the hateful Human Knights to their left, moved over to that flank, preparing foul spells to cast at them. Meanwhile, An'Burkag detailed a unit of Orc Spears to line up with him to prevent the Human Riders from flanking them or attacking their camp!



The Human army rolled down on top of the orc defense and pushed them all back!



Undaunted, the orcs and goblins gnashed their teeth, gripped their cold iron weapons and charged back at the humans, pushing them back!

(It was an amazing story the dice told! Every orc unit on the line recoiled when it was the human's bound, and almost the same in reverse when it was the orc's bound!)



The human knights, seeing a potential trap, charged at the flanking Orc knights. With nowhere to go, the retreating Orc Knights crashed into the melee between goblin and human archers. The unit broke up! Unfortunately, the impetuous Human knights made a mistake in turning to attack the Orc Shaman. When they attacked, they were overcome by his foul magicks!

(In HOTT, if a Knight (Kn) attacks a Magician and suffers a minor defeat in that same bound, they are destroyed! I had to reread that rule several times to make sure I understood it. It's subtle in the wording... if the Magician had charged/initiated contact, then the way the rule reads, the Kn would not have been destroyed!)



The Orcs also protected their rear/right flank, with the Orc spear destroying the light Rider cavalry. The orc line, however, suffered several defeats and began to fragment.



The human army pressed their advantage and pushed the orcs back. Warchief An'Burkag raced to reinforce the line and the Shaman Oz'turk rained spells and curses on both the flanking knights and units in the humans army, but they had little effect.



In the end, the orcs were unable to mount a serious defense and An'Burkag was forced to sound the horns of retreat. The humans marched upon the remains of the camp and burned it all to the ground, celebrating a hard fought victory!

Orcs: 12AP lost, Humans: 8 AP lost.

I rolled quite a few 6 to 1 combat rolls, in favor of the humans, which almost always spells defeat for the orcs. Once the line developed gaps, the bonuses for overlaps from the intact human line spelled the story out. Which was surprising, as the defeats on the flank really blunted whatever advantage I thought the humans would need.

So.. the Magician unit. Fun! It's basically an advanced artillery unit, being able to launch spells at 3x the distance of shooters, a little further than regular artillery. It does require PIPs though, so it requires a choice to be made between moving a unit or two, or using spells. Unfortunately, out of 4 attempts at a spell, only one had any sort of effect (a recoil), so the results weren't as good as I hoped. I was taken by surprise at the result of the Magician killing the Knight unit, though! I'll remember that for the future.

I don't know how this would have turned out if the Orcs had kept their Hordes and extra Spear unit, but it was a fun element to play with. Now I need to try a Cleric... and I need to buy 15mm human Wizards and Clerics! I don't have any!

PS. If you're curious about my force composition tables, as well as how I conduct my fantasy wargames campaigns, here's a link to my rules. https://drive.google.com/open?id=18CUi40wW6OSm4FhTzdOoH-ct0NxW9jImGyF-okiMOrk

Suzy Cube Update: Wish List, Pre-Registration And Release Date!

#SuzyCube #gamedev #indiedev #madewithunity @NoodlecakeGames 
I promised you all a big update mid-week, well here is a HUGE update! Suzy Cube is now available to Wish List on Steam and Pre-Register on Google Play!
Read more »

Movie Reviews: Captain Marvel, Green Book, Juliet, Naked, Colette, Fantastic Beasts: The Crimes Of Grindelwald, Aquaman, Ralph Breaks The Internet, Mary Poppins Returns, Like Father

See all of my movie reviews.

Captain Marvel - It's not the toxic male mob intent on trashing this movie because it features strong women characters (some of color, no less) that gets me. It's the well-meaning but clueless regular men (and women) who don't get that a female superhero movie doesn't have to a) be exactly like a male superhero movie or b) feature a woman who has to listen to, love, or get saved or supported by a man.

"Vers" is a Kree, a humanoid with a past that she remembers in glimpses in her dreams. She is fighting as an elite Kree warrior against the "terrorist" shape-shifting Krulls, and told by her mentor and the world's AI that they gave her her special powers (shooting energy blasts from her hands and other things, that other Krees don't have) and will take it away if she can't control it. During a mission she is kidnapped by Krulls and crash lands in 1990s Earth, where she discovers many secrets about the past and the war she is fighting. Eventually she turns into Captain Marvel; this is late in the movie but not a big spoiler.

The naysayers who say that Brie Larson doesn't exhibit enough emotion didn't watch the movie. Okay, maybe she doesn't play CM as a vulnerable helpless naif, or make us feel her struggles too much, but she exhibits fear, doubt, confusion, happiness, joy, anger, and everything in between. She's just freakin' strong and powerful, she's generally in control, and she's angry. Captain Marvel has nothing to prove after being lied to and finally regurgitating the lies. She spent six years in a civilization that treats men and women equally and she doesn't know anything about being a second class citizen. She is a powerhouse and a warrior. And so, in a more human way, is her female friend Lashana Lynch, a pilot who skillfully flies a rescue mission and shoots down enemy ships.

The naysayers who claim that CM doesn't learn or grow also didn't watch the movie. Okay, the turning points were sometimes a tad rushed, but it's a Marvel movie; for crying out loud. Compared to other Marvel movies, this was Shakespeare. Everything about her confusion, her gradual uncovering of the truth, and her turning points are well presented in the movie and make sense. (How she got her powers - and lived - doesn't make sense, but then neither do any of the other Marvel superhero origin stories.)

One way to analyze if the movie works is to ask if the movie would still be good if the sexes were swapped. The answer is hell yes. But it's far better to have women as the lead characters, because so few movies like this do. It's high time that girls had some uncompromising, independent, unsexualized, strong role models.

Everyone involved in this movie did a great job. It has the most real character development and character relations I've seen in a Marvel movie since Iron Man. Within the context of Marvel, the plot flows seamlessly into the rest of the MCU (without the hanging threads that Wonder Woman left in the DCU, for example). CM is a real superhero, like Superman. A fun watch. Ben Mandelsohn also bring fun to most scenes he is in as one of the Skrulls.

Green Book - Based on a true story of a low-class Italian bouncer who drives a black, fancy piano virtuoso across the deep south in 1962. Mahershala Ali plays the somewhat ridiculous Doctor Donald Shirley who is invited as guest of honor in places where he is typically not allowed to sleep or eat. Viggo Mortensen is nearly unrecognizable as his driver, who starts off as a crude racist but ends up ... well, you'll have to see.

The story is okay, the acting and everything else is good. The movie creates a relatively safe space to encounter racism, with only a little violence and general racism. It's more a road movie and a culture class of refined vs uncouth. I don't know that the movie deserved an Oscar for best picture, but it was solid enough, if a tad predictable in some places.

The ending scene is unbelievable as Hollywood movies tend to be.

Juliet, Naked - A very good romantic comedy. Duncan (Chris O'Dowd) is a fanatic blogger who obsessively tracks information about one musician, Tucker Crowe (Ethan Hawke), who disappeared many years ago. Duncan is more interested in his hobby than his girlfriend, Annie (Rose Byrne), who ends up in contact with Tucker behind Duncan's back.

Like in many romantic comedies, it's hard to figure out how the girl ended up with the guy in the first place. Not that Duncan is horrible, but he's not a great match for Annie. The scenery is a small pretty, port town in England crossed with some scenes in London hospitals and studios. The movie is mostly laid back.

It's sweet and calm, with an original screenplay that goes in a familiar rom-com direction with some original, unexpected confrontations along the way. Well worth a watch.

Colette - Keira Knightley plays the eponymous writer in a now-familiar story of a woman writing under her man's name, who takes the credit, until she has had enough of that, thank you.

Keira is a firehouse in some movies (Pirates of the Caribbean, Begin Again) and out of place in others (Pride and Prejudice, The Imitation Game). Here she is closer to the latter, unfortunately, unable to give the role the kind of gravitas that would make a more interesting picture. Her character is too straightforward. The plot is too straightforward. Colette's lesbian encounters were not scandalous at the time, because no one knew about them, and they are not scandalous to us today, so that part of the plot doesn't really add much substance to the movie.

It's not bad, and it doesn't drag, but it wasn't very memorable.

Fantastic Beasts: The Crimes of Grindelwald - Actually a good movie. The critics somewhat miss the mark here. They didn't like that this was an interim chapter of a movie that sets up the next one(s). In this regard, it's something like HP 5 or 6, but without the tournament or shock ending. Basically, if there had been a shock ending, the critics would have been mollified. The problem is that we're not invested in the characters, so that kind of an ending wasn't really possible.

Queenie, Jacob, Newt, and Tina, as well as a host of other characters, all congregate in Paris (and some other places) to chase after the smarmy Grindelwald, who is assembling an army to attack muggles, and the reborn Credence who has some kind of part to play. Dumbledore is also involved in some short scenes that don't give us much information.

They abandoned sense regarding Queenie's character and reduced her to a plot point "good witch turns bad" using the flimsiest of plot elements: they shoehorned Jacob back into the movie as another plot element. That part was kind of a mess, which I bet JKR could have done much better in book form than it ended up being on screen. As for Newt and Tina, yeah, it's a little hard to figure out why Newt is the hero handing this mission, instead of a pack of competent, trained aurors, but whatever. I also give "whatevers" to a few of the other random plot elements.

It's still pretty fun, pretty magical, mostly makes sense, is well-paced, has some clever and thrilling moments, and takes its time doing world-building ...something which other directors could learn from (*cough* new Star Wars *cough* all comic book movies *cough*). I'm not saying I'm going to run out and see it again in the theater, but I'll happily watch it again when I re-watch the whole FBaWTFT series.

Aquaman - Actually ... meh. Lots of men with irrelevant supporting women. That's par for the course, mostly, but the men are not interesting. They yell, pose, and fight. The spectacle and effects are pretty and overwhelming sometimes, but it all comes to a lot of posing and fighting, and nothing interesting in the way of plot or characters.

Queen of Atlantis runs away, or gets washed away, and meets a human who runs a lighthouse. They have a baby, Aquaman, who grows up (in too-little screen time) who goes to claim his crown in the sea. To do this he has to find a magic trident, while being pursued by a human in a magic suit who is upset that Aquaman didn't save his criminal father from dying, as well as the current lord of Atlantis who wants to kill all the humans for dumping garbage in the ocean.

On the one hand, it's nice when the bad guys have reasonable motivations (taken too far). On the other hand, do we really want to be rooting FOR dumping in the ocean? Or oppression of black people around the world (Black Panther)? Or overpopulation (Avengers Infinity War)?

Visually beautiful, frenetic, and kind of insane is the best that can be said about it. It's like Thor underwater, with a laser light show. Not on my list of great comic movies.

Ralph Breaks the Internet - Ralph and Princess Vanellope are video game characters, as you know from the last outing of this franchise. They get sucked into the Internet, and try to find a (real world physical) component to fix Vanellope's arcade game (and then the money to buy the component), and then they get into fights and races with hot gaming chicks and computer viruses.

It mostly makes sense if you don't think about any of it too hard (take one small aspect of a real world concept, pretend that it makes sense for a video game character to deal with or manifest, repeat ad nauseum). It's entertaining. It tries hard to have relatable characters, but they are just flat pixels on which to give a few life lessons and say jokes. The room full of hip Disney princesses was fun, but I couldn't help feeling that even this scene could have been better. Actually, just following a bunch of updated, feminist Disney princesses, free from the constraints of their movie plots, would make a great movie.

It tries hard, but ultimately it's just okay.

Mary Poppins Returns - Emily Blunt makes a nice Mary Poppins. She lacks (deliberately) some of the warmth and sentimentality that Julie Andrews had in the original, but makes up for it with a no-nonsense strictness and charm that gives her a more otherworldly, appealing magical quality. Lin-Manuel Miranda is good as the sidekick with an accent almost as bad as Van Dyke's was.

In this story, The Banks children are grown up with children of their own. They are facing financial problems that will cause them to have to leave their house. If only that lost bank deed with the proper signature would turn up to save the day. In the meantime, where is light-heartedness and fun to be found any more?

It's hard to judge this kind of thing as an adult with grown children. The original Mary Poppins was not one of my favorites: I loved the songs, but the movie was mysterious and dragged on on occasion (what the heck was that whole plot about women's votes? (I asked as a child)). This movie was at least as good, with inventive animated sequences and songs that pay homage to the original without duplicating it or being too "modern". On the other hand, maybe modern songs would have been a better idea for modern kids, like in The Greatest Showman?

I liked it.

Like Father - Kristen Bell and Kelsey Grammer play their charming selves in this so-so romantic comedy without the romance; is there a genre for parent-child relationship movies?

Rachel (Kristen) is an overworking always-on-the-phone bride who is left at the altar by her fiance for bringing her phone with her to the altar. Her estranged father (Kelsey) who left when she was five showed up to the wedding and then again a few nights later. They get drunk and end up on the cruise she was supposed to have gone on with her ex-fiance. They fight, they try to bond, they fight, they bond.

It's all predictable, down to the expected karaoke scene, the just-when-it-looks-like-everything-is-going-well-they-fight fight, and the last minute change of heart. Kristen and Kelsey carry the movie with their talents, and the usual assortment of nice location shots and the not-too-odd irrelevant cruise guests along for backdrop. No surprises makes it a little dull, but there is nothing very wrong with the movie and there are some laughs.

Monday, March 23, 2020

Missed Classic: Trinity - Fly Me To The Moon

Written by Joe Pranevich



Trinity continues to impress and depress me. Last time out, we witnessed the unexpected destruction of New Mexico thanks to a more powerful than expected nuclear test at the Trinity site. My guess was that we had finally found the "plot" of this game: to find out what interfered with the original test and put it right again. Do we have a time-traveling saboteur? Could he be related to that voice that keeps whispering bad "gnomon" puns in my ear? I have no idea, but it feels good to finally be discovering the plot after so much semi-random exploration.

At this point, I am most of the way through. I've solved (perhaps) four of the seven areas including Kensington Gardens, the South Pacific atoll, the Siberian steppe, and Nagasaki. Still to be conquered are an outer space segment, an unknown area, and the Trinity test site itself. I also know that I need to find a lizard for a magic potion, recover a magnetic meteorite from an impact crater, and maybe even deal with an injured wight. When we do these "Missed Classics", we aim to close out games in three posts. I hope I am not disappointing too many people when I say that we will have this one and at least one more, depending on how writing about the endgame goes.
"Ice ice baby. (Too cold, too cold.)" - Rob Van Winkle

To recap a bit, last time around I attempted to explore the second mushroom but ended up transported into orbit and a very quick death. I worked out with some experimentation that I could ride a soap bubble from the "Bubble Boy" in the wabe through the mushroom door and this would make surviving in space possible, but even then I could not work out how to get to a satellite that I see whizzing by before my eventual death. Having given this some thought, I am convinced that the magnet rock is my best bet since that may allow the bubble to steer itself towards the satellite. I'm a little unsure of the specifics because it seems too small and the distance seems too great for this to actually work, but this is a game with a 40-foot tall boy blowing bubbles so I'm willing to suspend disbelief. Digging around the rock didn't work and I think that I need to cool the rock down somehow, but I do not know how.

My first thought was to carry water to it. We have ample water nearby in the river and bog, but no watertight container. You'd think the cottage would have a cup or something, but you'd be wrong. The only other water I can find is the frozen icicles on the ceiling of the ice cave. With some experimentation, I discover that I can throw the axe to knock one down! I also score one point, so I must be on the right track. Unfortunately, the ice melts quickly and there is no way to get it to the meteorite without it melting.

As puzzles go, this was fun since I realized very quickly that we had four turns before the icicle would melt. The time-box helped to narrow down where we had to explore and I realized that it would re-freeze if we take the icicle to the top of the triangle at the center of the world. From there, I can make it to the crater only if I follow the exact shortest path. Still, that is not hard considering my experience at adventure game mapping and I place the cold icicle on the hit rock. It sputters and steams a bit, but the end result is that I lose the icicle but gain a magnet rock. Score!


Worked about as well as Reaganomics. 

The Final Frontier

My thought from last week was that once I made it to the satellite, I could board it. I had in mind something like the ISS (which had not been invented yet in 1986) or a half-remembered scene from Moonraker (not yet a decade old at that point). The good news is that the magnetic rock took me to the satellite as I expected, but once there I found nothing to do. There was no airlock or entrance hatch, only an automated defense satellite and an oncoming nuclear missile. The voice in my ear managed a Star Trek pun ("where gnomon has gone before"), but that doesn't help much.

One thing that changed is that I am now on the satellite and it is firing maneuvering thrusters to position itself. In the process, we are getting closer and closer to the white door. This is good since it means a way out! This is bad once you remember that the white door is the location of a nuclear explosion and the fact that we are going towards it means that this satellite will likely be blown to bits soon. Just before the missile hits, when the white door is closest, I pop the bubble with my spade. Instead of being suicide, the sudden pressure forces me to spring towards and through the door before I die of exposure to the cold of space. I still accomplished nothing, but at least I know how to get back to the wabe. I try the sequence again and again to find anything that I missed, but come up empty. Whatever I am supposed to do there, I don't think I am doing it yet. I restore.


 
Skink: noun; a smooth-bodied lizard with short or absent limbs, typically burrowing
in sandy ground, and occurring throughout tropical and temperate regions.

Tunnel Vision

One low-point last week was that I could not find the third mushroom, despite the fact that I had found it and wrote about it a post or two before. What happened? It's a combination of my writing being behind my playing, but also because I simply didn't keep the whole game in my head. I forgot that I saw it there even though I had it in my notes. In my defense, I was certain that the ossuary was underground and there was no way a magic shadow could reach there. Let's just say that I could have explored this area a while ago if it had not been for this mistake.

Passing through the door, I emerge at the eastern end of a long dark tunnel. This also happens to be the end with a nuclear bomb that will no doubt explode in a few minutes. In classic text adventure style, there is a disused lantern on the ground that I grab. Exploring west, I discover a walkie-talkie and a skink. If you are like me, you may have no idea what a "skink" is and may have resorted to Google. If so, you would have learned that a skink is a variety of lizard. I finally found my lizard! Or rather, I had found him because he immediately rushes off to the west. Before engaging in pursuit, I muck around with the walkie-talkie by extending its antenna and listening to some static. The signal doesn't reach well into the tunnels and the only word that I can make out is "eight", although eight what will have to remain a mystery… but I'd better hurry.


"Earth below us / Drifting, falling / Floating, weightless / Calling, calling home"

Just to the west is the end of the line as the cave is sealed except for a tiny, lizard-sized crevasse. The skink runs there to hide immediately and I have no obvious way to get him out. This leads to a nifty little puzzle of "catch the skink" that goes something like this:
  • The skink will flee from light, either the splinter or the electric lamp that I found in the tunnel. He's like a peaceful grue in that respect. 
  • I can force him out of the crevice by dropping my splinter of wood in; it is too narrow to do the same with the lantern. Doing that causes him to race past me down the eastern tunnel I never see it again.
  • If I (after a restore) place the lit lantern in the next room and repeat, the skink runs there and then immediately back. He's disoriented by all of the lights so I can pick it up! 
  • Unfortunately, it wiggles out of hands nearly immediately although I get 1-2 turns to do something else with it. I try putting it in the bag and birdcage, but neither do the trick. 
  • With no other option, I resort to killing the skink in the brief time that I am able to hold it. Killing it is vividly described, down to the way that your hand aches as you choke the life out of its innocent lizard body. For all the implied death in this game, killing this creature-- that would die in minutes anyway-- hurts.
I race back through the door before the bomb explodes and take stock. I have to use the new lantern to pass the wight; much like in Zork, the lantern only lasts a few turns so I need to carefully turn it off and on when I need it. I drop the lizard carcass into the potion and… absolutely nothing happens. Did I need a fresh lizard? I play through the tunnel segment again and again but find no way to capture the lizard and keep it alive. I resort to taking a hint-- my first for this game. The answer is that I was supposed to put the lizard in my pocket! It had no problem escaping from a paper bag, but a pocket? Sure. When I place it inside, the lizard calms down and seems to be happy to be carried. I return to the cottage and drop it in, but the same "nothing" happens and I get no points. What am I getting wrong?


I should have listened to you!

I take a second hint and discover that I missed or misinterpreted one of the magpie's messages: "Killed in the light of a crescent moon." That is obvious in retrospect, but I did not connect it with the lizard in specific and forgot about it entirely until now. Since I have to murder my lizard, where can I find a crescent moon? The tunnel section could have been at night, but since killing it there didn't work I am going to guess not. All of the other time periods have been daylight hours. Thankfully, the answer is obvious since there is one area that I have not "won" yet: space!

I ride my bubble back to the final frontier and verify that the moon is in fact a crescent from my perspective. I murder the lizard with the same heart-wrenching scene, but at least I got points for it. I follow the rest of the puzzle as before to dock with the satellite, ride it back to the white door, and then pop the bubble just before orbital armageddon. (Speaking of which, why would they bother to have nuked orbit? The satellite that I was on seemed like it fired lasers at missiles as an orbital defense system. That part makes sense, but nuking it seems overkill since a laser-satellite would be just as destroyed if you fired a conventional missile at it. I guess when all you have are nuclear-powered hammers, everything looks like a nail.) I drop my freshly killed lizard into the cauldron and it begins to smoke and bubble. I leave quickly and the cottage explodes, leaving nothing but the charred remains of the book and maps plus one intact cauldron. At the bottom of the cauldron is my reward: a single emerald.


It's kryptonite without the aftertaste.

I check my list of open puzzles but I have just about reached the end. All that remains is helping the wight and heading off to Trinity, but alas I think my own pity for the injured wight is my own and not Moriarty's. What's left? Eventually, I notice the color of the two boots on "my" corpse are red and green, the same as the colors of the two jewels that I have been (knowingly or unknowingly) chasing after, a red ruby and a green emerald. I also recall that there are recesses in each boot where you could hide something, but I never found anything that fit. I stick my new emerald in the green boot and it is absorbed instantly. The boot seems to hum with newfound power and tiny wings sprout from the heel. What does that give me? Flight? Speed? I'll have to get the matched set to find out.

Following the same path in my previous post to disguise myself as a corpse to ride the ferry, I slip through the mushroom door to the Trinity site. Before I go, I have a small crisis that I have far too many objects to carry at once and no idea what I will need on the other side. Should I take the axe or the spade? The walkie-talkie? I will have to restore if I bought the wrong kit, but clearly knowing what to bring is part of the "fun". Once at Trinity, I wait for the guards to leave and meet up with the roadrunner at the bottom of the tower. He hands over the ruby and I install it into my other boot. I get the same message about hidden power and little wings but nothing else obviously happens… until I try walking north:

Woosh! Desert streaks past in a dizzy rush of color.

I have super speed! Since last time out, the bomb exploded after only a few turns, I'll likely be able to explore more of the site and maybe, finally, figure out what this game is all about. But all of that will have to wait until next time when I (probably) will wrap up the game and provide a final rating. Note that as I end this session, I have 71 points which is only one more than what I had before. I'm worried that I forgot something since I did more than one point's worth of new stuff but if so it should be obvious soon enough.


Time played: 2 hr 30 min
Total time: 10 hr 10 min

Inventory: bag of crumbs, small coin (20p), red boot (with roby), blue boot (with emerald), bandage, burial shroud, credit card, wristwatch, birdcage with lemming, broken coconut, spade, silver axe (not all carried with me to Trinity, but which I can fetch if needed)

Score: 71 of 100

Friday, March 20, 2020

Final Fantasy 5 Book

My friend Fr. Mark Higgins, a priest of the Archdiocese of Southwark, England, recently told me of a really cool book he had picked up about Final Fantasy 5. The book is part of the "Boss Fight Books" series on classic video games.

I was able to get a copy myself on Kindle, and for anyone who was a fan of Square's 16 bit gem, I would highly recommend it.

The book is also interesting inasmuch as it is framed though the biographical details of the life of its author- Chris Kohler, of fame to many in the retro game world (through his contributions to the podcast Retronauts and his other authored works) and also the world of trivia (through his membership of the trivia panel in the podcast Good Job Brain).

Who would have thought that Chris Kohler would have had so much involvement in the original gang of Geeks that fan translated FFV in the early days of the internet, and yet that is what this book reveals, he even was part of the team that produced the first English FAQ! And so the guy has some really interesting bits of information to share on the game, its development and on its reception via emulation world.

The book also shows how FFV has become even more popular in the world of internet 2.0 as fans challenge each other with scenarios like- "beat the game with 4 nijas" or "no mages allowed", reading about their adventures actually got me to boot the game up once again and begin a play though.

So thanks to Fr. Mark Higgins for the head's up, if anyone else has spotted a book, game or podcast that might be of interest to me as Catholic gamer and a classic RPG fan, do let me know.




Thursday, March 19, 2020

2018-2019: A Playtesting Retrospective

Back in late 2017 I started formally tracking my weekly playtest sessions in a google doc. One up-side of this is that I can go back now and review what was played each week, by whom, and what aspect I was looking to test that day. It's also interesting to see how much time we dedicated to each game, or how much time passed in between playtests of a game.

I'd like to use this post as a sort of retrospective on the last two years (or 28 months) of playtesting. Let's take a little trip down memory lane...

2017

Late August 2017 was the first session I'd logged, and that day we were evaluating 3 games I'd brought home from GenCon for TMG: Margrave, by Stan Kordonskiy, which turned into Old West Empresario, Rolled West, by Daniel Newman, and Embark, by Philip duBarry. Not only did we end up signing each of these, but all three are on store shelves now!

In September of that year we continued evaluating games: Pixel Factory was a neat one, but ultimately TMG did not sign it. Back to Earth was also neat, and we did sign it, but due to unrelated circumstances we ended up releasing it later. Railways is a game by some British designer friends of mine, and I liked it, but it needed some work. We did suggest the new title: Railblazers. My understanding is that at this point it has improved greatly, but the main mechanism which I was interested in (like the Mancala-rondel in Crusaders) has changed completely.

October saw us switch gears a bit. We spent a lot of time playing my games: Eminent Domain Origins (a Terra Prime reboot) and Eminent Domain: Chaos Theory (a dice game version of EmDo -- I should add those to the BGG database). This went on into November as well.

December was spent almost entirely on a dozen games of Embark, which had been signed by that point. I also see a lone play of Eminent Domain Origins at about Christmas time.

2018

We started off the new year with 2 more games of EDO, but then spent the rest of January, February, March, and half of April playing about 3 dozen (!) games of Old West Empresario, working on game balance and player powers. The only other playtests in those months were a few games of Harvest to test some potential expansion characters (unfortunately, we never did do an expansion to Harvest).

Late April through mid-May we tested the Crusaders: Divine Influence expansion, which was in pretty good shape to begin with, but we hammered out a few details. That one has now been printed, and is about to ship from the manufacturer in China and should be out later this year.

My son was born at the end of May, and my playtest sessions went on  hiatus. The only other testing that happened in 2018 was at Rincon -- Michael was in town and we played a game of Deities & Demigods (now Olympus on the Serengeti), and several games of Imminent Domain (now Sails & Sorcery, but that title might not be final either), which is the game Michael designed based on the deck learning of Eminent Domain and the area control of El Grande.

2019

After an extended hiatus, I finally got back to regular playtest sessions in February of 2019, and we spent that first month back playing Eminent Domain Origins some more, fine tuning some last details.

March was spent on Emperor's Choice. TMG is doing a Deluxified version of that game, and we developed a 2 player variant which went over well with Richard Ham of Rahdo Runs Through, who famously only plays games with his wife.

April and May were dedicated almost entirely to developing Sails & Sorcery, changing up the format so it would play better, but keeping the core ideas of the game.

June was spent working on a new design of mine, Apotheosis. We iterated through several big changes as we quickly honed in on what worked and what didn't.

We started out July with a quick couple tests of a 5/6 player expansion to Crusaders. This worked out well, and we've got art done, but this won't come out until October. Then it was back to Sails & Sorcery through August. Most of the game was pretty solid by that point, but we were trying to fix this one niggling dynamic that just didn't work right.

We switched gears again and spent September and half of October playing Alter Ego, my co-operative deck learning game. We played quite a few games considering that one of my main testers doesn't like co-op games!

We ended October and spent most of November working on expansion content for Pioneer Days that we got from the designers.

We revisited Alter Ego once in November and once in December, and spent the rest of December testing Eminent Domain: Chaos Theory, and another one of my games: Riders of the Pony Express. Riders was in pretty good shape, but was a bit fiddly. We fixed a couple of small issues, and brainstormed how to remove some of the process a little bit.

In addition, we played a few non-playtest games including Tapestry (which did not go over well), In the Year of the Dragon (my favorite Feld game), and we tested a game for one of my playtesters (we actually did this a couple of other times, but I hadn't recorded those). Also, I took my players out for an annual Playtester Appreciation Day to see the new Star Wars movie (we saw Solo last year, and Episode VIII the year before that) -- only one of them could make it though.

Finally, we capped off the year reviving my oldest game design that was any good: All For One! I initially got involved in that co-design 17 years ago, and it had been so long since the last playtest (2012?) that I didn't try any changes, we played straight from the rulebook. It was great to revive this old classic, and we started off 2020 with some significant changes to All For One, which worked well and felt great!

Cha'alt Hardcover Deal

This Deal Is Now Over!


This weekend only - from now until Monday morning at 10am - I'm running a special deal...

$50 for one Cha'alt hardcover or two for $75!  If you live within the USA, shipping is included.  If you live outside the USA, $25 shipping for the first book and $35 for both.

All you gotta do is send $ via paypal: Venger.Satanis@yahoo.com

You've never seen an RPG tome of this high quality!!!

Along with the print version, you'll get complimentary digital files; just need your DriveThruRPG associated email address.

Thanks,

VS

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Monday, March 16, 2020

Deities & Demigods Face Lift - Need A New Title!

When getting serious about the production of Deities & Demigods, I had to face certain realities about the theme:

Tropes vs Cliches


On one hand, using a familiar theme is useful, because tropes are like pictures -- worth 1000 words. People can recognize things like "Ares is the one that moves your troops" because of what they already know about the Greek gods. Knowing that information up front reduces the cognitive load on the player, who can spend their cycles thinking about whether they want to build stuff rather than having to think "wait, what does Hephaestus do again?" Read this whole twitter thread for a good, technical description of what I've been thinking for years, but didn't have the knowledge or vocabulary to express properly:


On the other hand, gamers tend to complain when a theme is overused. To be honest, while that complaint does come up at times, I suspect it's more of a complaint that the theme was used poorly than that it's really overused, because there are several popular themes that occur in many, many games every year that don't receive that complaint. However, a bigger issue may be presentation...

Looking at the many Greek mythology themed games out there, they all look exactly the same! The typical (maybe stereotypical) depiction of the Greek pantheon may be a good example of a "trope" that has become "cliche." It's difficult to tell any one of those games from another just looking at the artwork. Santorini does a good job of setting itself apart, with the awesome chibi-style artwork, but that's a rare exception:


The chibi style is cute, and works very well for that game, but (a) I'm not sure that kind of style would work as well for Deities & Demigods, and (b) it's been done already!

So how do I make Deities & Demigods stand out from the crowd? I had a few ideas about this...

1. Allocate a large art budget, so that if the game had to look like other, similar games, maybe it could look better. However, looking at some of the Greek mythology art from recent games, it appears they've already done that!

2. Change pantheons, moving from Greek mythology to something less commonly used, such as Egyptian mythology. For a while I thought this would be the right decision, as the art could look different, and people could comment on the unusual theme rather than the same-old same-old of the overused Greek setting. But the more I thought about it, the more I realized that while the outfits would look different, the artwork would still probably look similar to the Greek games, and I wasn't finding Egyptian gods that fit as well with the game action.

3. Find a new style, like Santorini did. I came across the art for SPQF in the portfolio of one of the artists I was considering, and it got me thinking. SPQF is a card based civilization building game, with very nice art of anthropomorphic animals. There have been a couple other games with anthropomorphized animals lately -- one might even say it's the start of a trend, however I don't think we're there yet. This led me to consider a cross between Clash of the Titans and The Lion King... what if we re-imagined the Greek pantheon as animals of the African plain?

Clash of the Titans meets The Lion King


In the end, I liked the sound of this third option best, and have decided to go that route -- re-imagining the pantheon as anthropomorphic animals. This allows us to keep the tropes of Greek mythology, but use art that differs significantly from other Greek themed games, and could look pretty cool.

Photo of SPQF cards by BGG user lovemyfire
My initial picks for animals to represent each deity looked like this:
Zeus (king of the gods) -- the obvious choice is a lion
Hermes (messenger of the gods) -- a macaw seemed like a good choice
Ares (god of war) -- an elephant, or possibly a wild boar
Hephaestus (blacksmith to the gods) -- an ape of some kind (the opposable thumbs could help him build)
Hera (Zeus' wife) -- at first I thought maybe a peacock, but probably better would be a tiger, jaguar, leopard, or cheetah

With a change of theme, a few details will have to change as well. For example, animals have no use for gold, so perhaps food would be a better thing with which to show devotion. That said, perhaps Artemis (goddess of the hunt) would make more sense than Hermes, and as an added bonus it would get more goddesses into the game (something I'd been wanting to do anyway). To represent Artemis, perhaps a bird of prey would make sense.

For the player boards, I figure smaller animals would make sense, something like meerkats, gazelles, monkeys, and I don't know, some bird species perhaps. These are animals that are found in packs or groups, so it would make sense that you have 12 of them under your control. To represent your troops on the board, a regular meeple doesn't really evoke animals, so I've been thinking of something better. One thought is a sort of generic "animeeple" -- a 4 legged something-or-other which is not necessarily related to any of the player boards. The graphic designer suggested a paw shape, which could be cute, and would stack well, but might not be as fun for players to move around the board.

I'm open to suggestions for a meeple shape that would be good. I don't think it can really relate to the player board animals, or else (a) the player who insists on playing red all the time would always have to be meerkats, and (b) if we add more player boards with player powers in an expansion or something, we'd have to add 12 meeples to go with it!

What's in a name?


Deities and Demigods was a title I was kind of OK with, but it was always only a placeholder. 90% of the people who play the game point out that there's an old Dungeons and Dragons sourcebook with that title, which I don't actually think matters. In any case, I've always wanted a better title.

About 4 months ago, I finally put some effort into finding a better title, but didn't come up with anything fantastic. Some of the options were:

Titan's Tribute
Divine Interest
Quid Pro Quo (change pantheon to Roman deities)
Chrysos (Greek for "gold")
Favor of Olympus
Buy The Gods (pretty good, but maybe too "cute" for a real/serious title)

And for a good laugh:
In Gods We Trust
Invest In Vesta

However, now that the game is about animals in the African plains or Savannah, I don't think any of those would really work anyway. I could really use a title for this game, and the sooner the better so the graphic designer can make a logo for it! Please comment with your suggestions.

So far, the only idea I've had that I like at all is Pantheon of the Plains, but I'm sure there could be something better...

Thursday, March 5, 2020

The Last Of Us Part 2 | Trailer, Gameplay, Story Characters & All The Latest News.



The Last of Us Part 2 wards off blowing us with rough and clashing trailers, yet despite everything we're holding up to hear when we'll really observe PlayStation's most foreseen continuation on the racks. What is Ellie's opinion about the decision Joel made to spare her toward the finish of the last diversion? Where is Joel, and for what reason hasn't he showed up in any of the trailers yet? Who are the unusual religion that have established such a connection in the recording we've seen up until this point? Here's all that we think about The Last of Us Part 2.

  Quick Facts :

  • The Last of Us Part 2 release date: TBC
  • Formats: PS4, PS4 Pro
  • Developer: Naughty Dog

The Last of Us Part 2 release date – When is it coming out?

The Last of Us Part 2 was uncovered with a secret trailer at PlayStation Experience 2016, yet Naughty Dog caveated the uncover with the reality the amusement is still from the get-go being developed, so it'll be a while until the point when we can get our hands on it. 

In an ongoing meeting with Argentinian radio station Vorterix, The Last of Us Part 2 arranger Gustavo Santaolalla said the title is intended to dispatch only for PS4 in 2019. Take this with a spot of salt, yet it appears to be a conceivable dispatch window to us.





















The Last of Us Part 2 story will focus on Joel and Ellie. But Joel is still (mostly) missing.

We haven't seen Joel yet, however we (most likely) know he's still near, as the most recent E3 ongoing interaction demo makes express reference to Ellie's "father". All things considered, that doesn't name Joel expressly, so there's as yet a shot his quality will be a mental one instead of an exacting one. Naughty Dog loves misleading its group of onlookers before its defining moments discharge. 

While talking about the likelihood that the amusement may pursue another cast, chief Neil Druckmann has expressed that "The Last of Us is about these two characters particularly," finally year's PlayStation Experience. "'Part 2' is stating this will be a bigger story; it will be a reciprocal story to the primary amusement, yet together, the two joined will tell this substantially bigger story." So indeed, Joel will be a noteworthy piece of the story. We simply don't yet know in what limit. Joel's little girl, Sarah, was the main impetus of the primary amusement, and, well...


In any case, based on Druckmann's remarks, this follow-up will be significantly more firmly connected to its forerunner than numerous other triple-A continuations. Seeing as the keep going diversion finished on such a superbly equivocal, semi-cliffhanger, we expect The Last of Us 2 to manage the lie Joel told Ellie amid that passionate epilog.

The Last of Us Part 2 Story – What's it about?

Naughty Dog has uncovered that The Last of Us Part 2 happens five years after the first left off, with a 19-year-old Ellie going about as the diversion's fundamental character. Joel likewise makes an arrival, viewing over Ellie as a gradually maturing old man. The principle drive of the account is indistinct, however we know Ellie is, extremely irate about something. 

In the uncovered trailer, she is seen playing guitar, slathered in blood among a heap of carcasses. In the wake of completing her melody, she says to Joel: "I will slaughter each and every one of them." We've no thought who Ellie is so pissed at, however, it's unmistakable annoyance will go about as a center topic in The Last of Us Part 2. Neil Druckmann has affirmed that Westworld's Shannon Woodward will assume a job in the continuation, in spite of the fact that we right now know nothing about her character.


The Last of Us Part 2 gameplay shows Ellie meting out a whole another level  of bloody violence.


As of Sony's E3 2018 introduction, we've now, at long last, had a serious take a gander at some The Last of Us Part 2 interactivity. Furthermore, "concentrated" is in fact the world. Especially taking its signals from the principal diversion's substantial, improvisational, avoidance driven guerrilla battle, The Last of Us Part 2 hopes to take a to some degree snappier, more agile methodology with Ellie as its hero - she can get containers and fling them consistently at assailants without breaking a dash, for example, and her changes between different kinds of cover and battle look significantly slicker than Joel's. All things considered, the level of realistic brutality has unmistakably gone up. 

The Last of Us was an expert when it came to the awkward gut, yet the Last of Us Part 2 ongoing interaction demo is on an entirely another level. Following a delicate scene of kinship and sentiment, we obviously slice to Ellie, cut as of now in a man's throat, gutting him like a fish. It just remains untidy from that point on out, the viciousness delineated as drifting somewhere close to lavishly realistic phlebotomy and dirty, anatomically reasonable repulsiveness. It's terrible, crunchy, stifling, sputtering, and wheezing stuff all through.


Ideally, there's a purpose behind that. The principal diversion was, all things considered, a savage amusement about savagery, in which the unglamourous delineation of executing with repercussions framed a lot of the points. With so little setting for Ellie's activities up until now, it's difficult to know whether The Last of Us Part 2 is accomplishing something astute here, or merely endeavoring to win a 'development' weapons contest with itself. We'll most likely know for beyond any doubt when we get hold of the last amusement.


The Last of Us Part 2 takes place in Seattle (partly)



Fans had just worked this one out quite well, yet The Last of Us Part 2 executive Neil Druckmann affirmed it at PlayStation Experience 2017: an "expansive part" of the diversion will occur in Seattle. 

The first started in Boston at that point went on a voyage over the United States as far west as Salt Lake City. When we last observed Joel and Ellie, they'd headed back east far to Jackson County in Wyoming, wanting to remain at the settlement driven by Joel's sibling Tommy. We don't know to what extent that game plan endured, yet Ellie's unmistakably accomplished all the more going from that point forward. 

In any case, that is only a "huge part". It appears to be improbable that The Last of Us Part 2 will remain established in the Pacific Northwest after how much meandering the principal diversion did. Perhaps Ellie will advance down the drift? We don't know whether things are as awful on the western seaboard as far as disease and military persecution. Be that as it may, it wouldn't be quite a bit of a survival story if Ellie just gallivanted down to Portland and lived joyfully ever after.







Expected To See Greater focus on the multiplayer.

To the shock of many, 'The Last of Us' multiplayer was brilliant. It deciphered the creating and survival mechanics of its single-player into the domain of online clashes impeccably. You could gather fixings and specialty devices mid-coordinate, getting the drop on your foe through a scope of fierce strategies. The collection of instruments was upheld up by a profound determination of matchmaking alternatives, as well. 

One of my most loved parts of the multiplayer was its usage of informal organizations into online movement. A triumph would net you supplies for your group, the individuals from which are named after a horde of Facebook companions. Obviously, they weren't generally stuck in an invaded hellhole, yet the unimportant consideration of their essence gave your activities a swoon yet ground-breaking setting. The Last of Us 2 should twofold down on this thought, making each fight an individual undertaking driving a level as well as a will to survive.


The Last of Us 2 soundtrack will feature the original game's composer.







Gustavo Santaolalla is the man. In particular, a man who is, VERY great at composing music. The Argentine arranger won consecutive Best Original Score Oscars for his work on Brokeback Mountain and Babel, before proceeding to direct The Last of Us' breathtakingly melancholic soundtrack. Druckmann as of late affirmed Santaolalla is coming back to form the music for the Last of Us Part 2, particularly prominent as it's the first run through he's returned for a spin-off.