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1981 Simon. Simon is the classic electronic memory game with four colored buttons (red, blue, green, and yellow) that light up and play tones in sequence. Players must repeat the increasingly long patterns. It became a cultural icon of the late 1970s and 1980s and remains in production in... various forms today. The game was invented by Ralph H. Baer (often called the “Father of Video Games” for creating the Magnavox Odyssey, the first home video game console) and Howard J. Morrison, working with the toy design firm Marvin Glass and Associates. Programmer Lenny Cope developed the core software (originally titled Follow Me), with additional assembly language code contributions from Charles Kapps. The idea came from Atari’s 1974 arcade game Touch Me, which Baer and Morrison saw at a 1976 trade show. Baer later described Touch Me as having “Nice gameplay. Terrible execution. Visually boring. Miserable, rasping sounds.” They improved the concept by using a Texas Instruments TMS 1000 microcontroller, redesigning it as a portable unit, and selecting four harmonious tones based on the notes a bugle can play (so any sequence would sound pleasant). They filed for a patent in 1977 (U.S. Patent 4,207,087, “Microcomputer controlled game,” granted in 1980). Milton Bradley licensed the design, refined the prototype from a rectangular box into the iconic circular “saucer” shape, added difficulty levels, and renamed it Simon after the children’s game “Simon Says.” Milton Bradley launched Simon on May 15, 1978, with a midnight promotional event at the famous New York disco Studio 54, where a large model hung over the dance floor. It retailed for about $24.95 (roughly $120 in today’s dollars) and became one of the top-selling toys of the 1978 Christmas season, with shortages reported in stores. It went on to sell millions of units and became a pop-culture symbol of the era. Milton Bradley (later acquired by Hasbro in 1984) released several variants: •Super Simon (1979) — a larger rectangular two-player version. •Pocket Simon (1980) — a smaller portable version. •Later editions included Simon Squared (double-sided), motion-controlled versions like Simon Air, wearable Simon Optix, and many modern updates with new features and colors. Simon helped popularize electronic handheld games and demonstrated that microprocessor-based toys could succeed with the public. Its simple, addictive gameplay has endured for decades, with new versions still sold by Hasbro. Simon was among the first widely successful consumer microcontroller toys/games. The original design is held in collections such as the Smithsonian’s National Museum of American History and The Strong National Museum of Play.show more

Brian Roemmele

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11,471 次观看 • 29 天前 •via X (Twitter)

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Did you know that Simon the Sorcerer (1993) was born out of a failed licensing agreement between Terry Pratchett (Discworld) and Adventure Soft? Prior to working on Simon the Sorcerer, Adventure Soft was mostly known for their horror-themed games, such as Elvira or Waxworks (under the Horror Soft label). The idea to move towards more family friendly games was mostly motivated by the huge popularity of games such as Monkey Island and Legend of Kyrandia. Simon the Sorcerer had a very vibrant style, with bold colors and beautiful pixel art. Every graphic was first hand-drawn on paper, then scanned, and manually colored in the final step. In typical point and click adventure style, you navigate Simon through almost 50 of these hand-drawn screens, solving puzzles by collecting and using items, and talking to other characters, looking for clues. Pretty much all adventure games from that era followed the same script, and that was fine. Adventure Soft obviously never had the same marketing power as LucasArts or Sierra, but Simon the Sorcerer still managed to sell over half a million units, which made the game highly profitable for a small family owned game studio from the UK and became their biggest hit ever.

Did you know that Simon the Sorcerer (1993) was born out of a failed licensing agreement between Terry Pratchett (Discworld) and Adventure Soft? Prior to working on Simon the Sorcerer, Adventure Soft was mostly known for their horror-themed games, such as Elvira or Waxworks (under the Horror Soft label). The idea to move towards more family friendly games was mostly motivated by the huge popularity of games such as Monkey Island and Legend of Kyrandia. Simon the Sorcerer had a very vibrant style, with bold colors and beautiful pixel art. Every graphic was first hand-drawn on paper, then scanned, and manually colored in the final step. In typical point and click adventure style, you navigate Simon through almost 50 of these hand-drawn screens, solving puzzles by collecting and using items, and talking to other characters, looking for clues. Pretty much all adventure games from that era followed the same script, and that was fine. Adventure Soft obviously never had the same marketing power as LucasArts or Sierra, but Simon the Sorcerer still managed to sell over half a million units, which made the game highly profitable for a small family owned game studio from the UK and became their biggest hit ever.

exQUIZitely 🕹️

10,608 次观看 • 1 个月前

"The Sound of Silence" is an iconic folk-rock song by the American duo Simon & Garfunkel. It was written by Paul Simon and released as a single in 1965. The song's haunting melody and evocative lyrics made it a timeless classic that continues to resonate with audiences across generations. The genesis of "The Sound of Silence" can be traced back to Paul Simon's early days as a songwriter in the early 1960s. He wrote the original version of the song when he was just 21 years old and it was initially titled "The Sounds of Silence." The song was included in their debut album, "Wednesday Morning, 3 A.M," released in 1964. However, the album had limited success, and Simon & Garfunkel's future as a duo was uncertain. Despite the lackluster performance of their debut album, the song's potential caught the attention of Tom Wilson, a producer at Columbia Records. Without Simon or Garfunkel's knowledge, he decided to remix "The Sound of Silence," adding electric instruments and drums to the acoustic version. This new version gave the song a more contemporary and dynamic sound, capitalizing on the folk-rock movement that was gaining popularity at the time. In January 1966, the remixed version of "The Sound of Silence" was released as a single, and it quickly began to climb the charts. The song struck a chord with listeners, as its lyrics tapped into feelings of isolation, alienation, and the struggle to communicate in an increasingly disconnected world. The opening lines, "Hello darkness, my old friend, I've come to talk with you again," instantly captured the imaginations of listeners and set the tone for the rest of the song. As "The Sound of Silence" gained traction, Simon & Garfunkel's popularity surged, and they went on to release more successful albums, becoming one of the most influential and celebrated musical acts of the 1960s. The song's success also played a significant role in propelling the folk-rock genre into the mainstream. Over the years, "The Sound of Silence" has been covered by numerous artists, further cementing its status as a timeless classic. Its enduring appeal lies in its ability to evoke deep emotions and contemplation, making it relevant in different historical and cultural contexts. The song's legacy has been immortalized in popular culture, appearing in films, television shows, and advertisements, further solidifying its status as a song that transcends time and resonates with people from all walks of life. Its powerful message about the importance of meaningful communication in a world filled with noise and distraction continues to be relevant and poignant to this day.

"The Sound of Silence" is an iconic folk-rock song by the American duo Simon & Garfunkel. It was written by Paul Simon and released as a single in 1965. The song's haunting melody and evocative lyrics made it a timeless classic that continues to resonate with audiences across generations. The genesis of "The Sound of Silence" can be traced back to Paul Simon's early days as a songwriter in the early 1960s. He wrote the original version of the song when he was just 21 years old and it was initially titled "The Sounds of Silence." The song was included in their debut album, "Wednesday Morning, 3 A.M," released in 1964. However, the album had limited success, and Simon & Garfunkel's future as a duo was uncertain. Despite the lackluster performance of their debut album, the song's potential caught the attention of Tom Wilson, a producer at Columbia Records. Without Simon or Garfunkel's knowledge, he decided to remix "The Sound of Silence," adding electric instruments and drums to the acoustic version. This new version gave the song a more contemporary and dynamic sound, capitalizing on the folk-rock movement that was gaining popularity at the time. In January 1966, the remixed version of "The Sound of Silence" was released as a single, and it quickly began to climb the charts. The song struck a chord with listeners, as its lyrics tapped into feelings of isolation, alienation, and the struggle to communicate in an increasingly disconnected world. The opening lines, "Hello darkness, my old friend, I've come to talk with you again," instantly captured the imaginations of listeners and set the tone for the rest of the song. As "The Sound of Silence" gained traction, Simon & Garfunkel's popularity surged, and they went on to release more successful albums, becoming one of the most influential and celebrated musical acts of the 1960s. The song's success also played a significant role in propelling the folk-rock genre into the mainstream. Over the years, "The Sound of Silence" has been covered by numerous artists, further cementing its status as a timeless classic. Its enduring appeal lies in its ability to evoke deep emotions and contemplation, making it relevant in different historical and cultural contexts. The song's legacy has been immortalized in popular culture, appearing in films, television shows, and advertisements, further solidifying its status as a song that transcends time and resonates with people from all walks of life. Its powerful message about the importance of meaningful communication in a world filled with noise and distraction continues to be relevant and poignant to this day.

Historic Vids

3,178,838 次观看 • 3 年前

A British Retiree Lost His Life Savings to a Romance Scam and Ended Up Homeless in Bangkok A woman calling herself Emily reached out to Simon on Facebook and eventually introduced him to her lawyer, who was disposing of her property. The sale would put $3 million into Simon's bank account. There were fees to cover first, for the house and for the transfer, and once those were settled the money would come. Simon is 68, British, and had been living in Thailand for about a decade on a retirement visa. The fees took his savings and his pension. What was left ran out, and Bangkok Community Help Foundation found Simon in a hotel lobby off Surawong, where he had been sleeping for several nights. Both he and the foundation say the British Embassy suggested immigration detention. "Which I find astonishing, frankly," he says. He went instead to the foundation's Center of Dreams in Khlong Toei, the first inner-city homeless shelter in Bangkok run by an NGO, and stayed about six weeks while its social work team worked with Thai authorities and an NGO in the UK on getting him home. The foundation raised the money for the flight. Simon is in a homeless shelter in London now, waiting on a place in assisted living. It traced the money he lost to Nigeria, India and Thailand, including a Thai bank account that received the transfers, and has filed a formal report with Thai cybercrime police and the Royal Thai Police. None of it is likely to be recovered.

A British Retiree Lost His Life Savings to a Romance Scam and Ended Up Homeless in Bangkok A woman calling herself Emily reached out to Simon on Facebook and eventually introduced him to her lawyer, who was disposing of her property. The sale would put $3 million into Simon's bank account. There were fees to cover first, for the house and for the transfer, and once those were settled the money would come. Simon is 68, British, and had been living in Thailand for about a decade on a retirement visa. The fees took his savings and his pension. What was left ran out, and Bangkok Community Help Foundation found Simon in a hotel lobby off Surawong, where he had been sleeping for several nights. Both he and the foundation say the British Embassy suggested immigration detention. "Which I find astonishing, frankly," he says. He went instead to the foundation's Center of Dreams in Khlong Toei, the first inner-city homeless shelter in Bangkok run by an NGO, and stayed about six weeks while its social work team worked with Thai authorities and an NGO in the UK on getting him home. The foundation raised the money for the flight. Simon is in a homeless shelter in London now, waiting on a place in assisted living. It traced the money he lost to Nigeria, India and Thailand, including a Thai bank account that received the transfers, and has filed a formal report with Thai cybercrime police and the Royal Thai Police. None of it is likely to be recovered.

Jacob in Cambodia 🇺🇸 🇰🇭

20,654 次观看 • 11 天前

The Atari 2600 launched in 1977, with the ageless classic Combat as one of its launch titles. It was based on Atari’s earlier arcade game Tank (released in 1974). In Combat, you controlled a tank, biplane, or jet and battled against another player. The gameplay was simple to grasp, yet the skill ceiling was surprisingly high. You had to carefully judge enemy movement, shot trajectories, and your own positioning to avoid getting hit. For a game that’s soon approaching 50 years old, it was remarkably advanced for its time. It remains one of the most iconic games of early gaming history. Younger generations will probably never come across it - and if they did, they’d likely laugh at its primitive graphics. But for those of us who grew up with it, Combat was one of the best two-player experiences of its era.

The Atari 2600 launched in 1977, with the ageless classic Combat as one of its launch titles. It was based on Atari’s earlier arcade game Tank (released in 1974). In Combat, you controlled a tank, biplane, or jet and battled against another player. The gameplay was simple to grasp, yet the skill ceiling was surprisingly high. You had to carefully judge enemy movement, shot trajectories, and your own positioning to avoid getting hit. For a game that’s soon approaching 50 years old, it was remarkably advanced for its time. It remains one of the most iconic games of early gaming history. Younger generations will probably never come across it - and if they did, they’d likely laugh at its primitive graphics. But for those of us who grew up with it, Combat was one of the best two-player experiences of its era.

exQUIZitely 🕹️

43,913 次观看 • 4 个月前

Closing in on half a century... The Atari 2600 launched in 1977, and with it the truly epic "Combat" - making it the console's first official game. It was based on Atari’s earlier arcade game Tank (released in 1974). In Combat, you control a tank, biplane, or jet and fight against another player. The gameplay was simple to grasp, yet the skill ceiling was surprisingly high. You had to carefully judge enemy movement, shot trajectories, and your own positioning to avoid getting hit. For a game that’s soon approaching 50 years old, it was remarkably advanced. It remains one of the most iconic games of early gaming history. Younger generations will probably never come across it - and if they did, they’d likely laugh at its primitive graphics. But for those who grew up with it, Combat was one of the best two-player experiences of its era.

Closing in on half a century... The Atari 2600 launched in 1977, and with it the truly epic "Combat" - making it the console's first official game. It was based on Atari’s earlier arcade game Tank (released in 1974). In Combat, you control a tank, biplane, or jet and fight against another player. The gameplay was simple to grasp, yet the skill ceiling was surprisingly high. You had to carefully judge enemy movement, shot trajectories, and your own positioning to avoid getting hit. For a game that’s soon approaching 50 years old, it was remarkably advanced. It remains one of the most iconic games of early gaming history. Younger generations will probably never come across it - and if they did, they’d likely laugh at its primitive graphics. But for those who grew up with it, Combat was one of the best two-player experiences of its era.

exQUIZitely 🕹️

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Any fans of this masterpiece? One of the few games I managed to finish (in 2 player mode with my brother) without using unlimited lives: Silkworm It's a classic horizontally scrolling shoot 'em up developed and published by Tecmo for arcades in 1988. You control either a heli (player 1) or a jeep (player 2) as they blast through enemy territory. And "blast" in the very sense of the word - great sound effects, epic explosions, and non-stop action. The helicopter offers free movement in the air, while the jeep drives on the ground, can jump over obstacles like mines, and has a turret that rotates to shoot in a 180 degree angle. Originally an arcade game, it was later ported to home computers like the Amiga (as in the video) and consoles. To me still one of the best games ever for the Amiga, and still playing it these days when my brother comes for a visit.

Any fans of this masterpiece? One of the few games I managed to finish (in 2 player mode with my brother) without using unlimited lives: Silkworm It's a classic horizontally scrolling shoot 'em up developed and published by Tecmo for arcades in 1988. You control either a heli (player 1) or a jeep (player 2) as they blast through enemy territory. And "blast" in the very sense of the word - great sound effects, epic explosions, and non-stop action. The helicopter offers free movement in the air, while the jeep drives on the ground, can jump over obstacles like mines, and has a turret that rotates to shoot in a 180 degree angle. Originally an arcade game, it was later ported to home computers like the Amiga (as in the video) and consoles. To me still one of the best games ever for the Amiga, and still playing it these days when my brother comes for a visit.

exQUIZitely 🕹️

28,568 次观看 • 5 个月前

This game is literally "do you know ball" the video game. Developed by arcsys, this game laid the groundwork for what FighterZ would become, and even has a bunch of moves that would end up in FighterZ. The roster selection for the time felt perfect, and this was one of the first games you could play as Super Saiyan Blue Goku as he'd just been recently released in the movie. Extreme Butoden is something special, and I have very fond memories of playing it on a long road trip with my best friend. I highly recommend checking it out!

This game is literally "do you know ball" the video game. Developed by arcsys, this game laid the groundwork for what FighterZ would become, and even has a bunch of moves that would end up in FighterZ. The roster selection for the time felt perfect, and this was one of the first games you could play as Super Saiyan Blue Goku as he'd just been recently released in the movie. Extreme Butoden is something special, and I have very fond memories of playing it on a long road trip with my best friend. I highly recommend checking it out!

Dokkan Assets | #RIPGachaTalks 

116,045 次观看 • 4 个月前

You can't compare Cyberpunk 2077 launch to GTA 6 and here's exactly why Cyberpunk 2077 was the CDPR's first installment to feature a futuristic city with tons of NPCs and fast moving cars, something which was never done before on Witcher games. The gameplay video from Cyberpunk 2077 shown off in 2019 had a clear text showing "work in progress - does not represent the final look of the game" After the launch disaster of Cyberpunk 2077, Marcin Iwiński also explained that the reason the game had so many bugs is that the game was designed for PC first in mind, then scaled down to consoles that still had a hard drive (PS4 and Xbox One) an extremely difficult task on its own, combined with the fact that the game development progress took a major hit during the pandemic. Rockstar Games on the other hand has a much different engine and experience working on large scale open world game filled with tons of NPCs and fast moving cars, including the fact that they're developing this game for current gen consoles first, then scaling it up for a PC release not vice versa. Are we guys suddenly forgetting the fact that Rockstar Games managed to get GTA V running on a PS3 console which had 256mb of VRAM and 256mb of RAM at that time? The reason Rockstar Games has shown zero gameplay of GTA 6 is because historically they save the gameplay showcase before the game launches, GTA 6 Trailer 2 came out in 2025 and all footage for that Trailer was captured on a base PS5 with a mix of gameplay and cutscenes. They'll obviously show off more gameplay on August 27th, but comparing Cyberpunk 2077 to GTA 6 isn't exactly fair for both companies. On one hand, it was CDPR's first time making that kind of genre of a game and on the other hand, it isn't Rockstar Games first time making a Grand Theft Auto game.

You can't compare Cyberpunk 2077 launch to GTA 6 and here's exactly why Cyberpunk 2077 was the CDPR's first installment to feature a futuristic city with tons of NPCs and fast moving cars, something which was never done before on Witcher games. The gameplay video from Cyberpunk 2077 shown off in 2019 had a clear text showing "work in progress - does not represent the final look of the game" After the launch disaster of Cyberpunk 2077, Marcin Iwiński also explained that the reason the game had so many bugs is that the game was designed for PC first in mind, then scaled down to consoles that still had a hard drive (PS4 and Xbox One) an extremely difficult task on its own, combined with the fact that the game development progress took a major hit during the pandemic. Rockstar Games on the other hand has a much different engine and experience working on large scale open world game filled with tons of NPCs and fast moving cars, including the fact that they're developing this game for current gen consoles first, then scaling it up for a PC release not vice versa. Are we guys suddenly forgetting the fact that Rockstar Games managed to get GTA V running on a PS3 console which had 256mb of VRAM and 256mb of RAM at that time? The reason Rockstar Games has shown zero gameplay of GTA 6 is because historically they save the gameplay showcase before the game launches, GTA 6 Trailer 2 came out in 2025 and all footage for that Trailer was captured on a base PS5 with a mix of gameplay and cutscenes. They'll obviously show off more gameplay on August 27th, but comparing Cyberpunk 2077 to GTA 6 isn't exactly fair for both companies. On one hand, it was CDPR's first time making that kind of genre of a game and on the other hand, it isn't Rockstar Games first time making a Grand Theft Auto game.

NikTek

104,096 次观看 • 19 天前

The Royal Game of Ur : For 4600 years, a mysterious game slept in the dust of southern Iraq, largely forgotten. The passion of a museum curator and the hunger of young Iraqis for their cultural history may bring it back... The original name of this ancient game has been lost to time, but it was dubbed the Royal Game of Ur after a British archaeologist named Sir Leonard Woolley uncovered five worn playing boards in 1928 at the Royal Cemetery of the Sumerian city of Ur. Analysts estimated that the highly decorated boards, made of wood, inlaid shell and lapis lazuli, were made between 2600-2400 BC, making the Royal Game of Ur the oldest complete tabletop game ever discovered. Archaeological evidence suggests that the game (Game of 20 Squares) was immensely popular with people of all classes. The boards were carried all over the Middle East and sometimes scratched into clay or rock, if no board was available by soldiers, missionaries, explorers and traders, who introduced it to Iran, Syria, Egypt, Lebanon, Sri Lanka, Cyprus and Crete. Variations of the game have been found in King Tutankhamen’s tomb, and etched into pillars in the palace of the Assyrian king Sargon II. For at least 1000 years, the Royal Game of Ur was the national game of ancient Mesopotamia, but it waned in popularity as other games were developed, including those that most likely evolved from it, such as backgammon. Mentions of the game disappeared in the Middle Ages, but a variation, called Aasha, was played by the Jewish people of Kochi, in India. Jews of Kochi had migrated from ancient Babylonia and brought a version of the game with them. The 1928 discovery of the Royal Game of Ur gave scholars an important cultural glimpse into how the ancient Mesopotamians entertained themselves, but there was one problem: The boards did not come with an instruction manual, and that meant that modern-day scholars had no idea how the game worked. In 1980s, Dr. Irving Finkel (a curator and Assyriologist at British Museum), translated a cuneiform script on a crumbling clay tablet that had been brought to the museum by an antiquities dealer. The document sounded remarkably like the rules of an ancient game. The clay tablet written in 177-176 BC by a scribe named Itti-Marduk-balatu, tablet was discovered around 1880 in the ruins of Babylon, according to an academic paper written by Dr. Finkel. “The tablet included a grid on one side,” he wrote, “and two columns of closely written text on the other, adding his name and the date at the end of the inscription.” British Museum bought the relic shortly after it was found and cataloged it. Scholars tried to decipher the cuneiform over the years, but it was Dr. Finkel who was able to identify the text on the tablet as instructions on how to play the Royal Game of Ur after comparing it to the other game boards the museum had stored in its archives. Babylonian tablet revealed that the game is race between two players to get their markers around and off the board. Pyramid-shaped dice are used to indicate the number of squares a player can move, but strategy is involved as well: If a player lands on a square occupied by their opponent, they can knock that marker off, and the opponent must start over again with that piece. That can set a player back by quite a bit, and it is almost impossible to predict who will win, even near the end of the game. But there was another aspect of the game that attracted people: It was said to tell a player’s fortune. According to the cuneiform tablet, some of the marked squares on the board were assigned signs of the zodiac and, with them, predictions that a player would win a beer, make a friend, eat well, or perhaps become powerful and wealthy. 🎥© ancientstristan (IG) #archaeohistories

The Royal Game of Ur : For 4600 years, a mysterious game slept in the dust of southern Iraq, largely forgotten. The passion of a museum curator and the hunger of young Iraqis for their cultural history may bring it back... The original name of this ancient game has been lost to time, but it was dubbed the Royal Game of Ur after a British archaeologist named Sir Leonard Woolley uncovered five worn playing boards in 1928 at the Royal Cemetery of the Sumerian city of Ur. Analysts estimated that the highly decorated boards, made of wood, inlaid shell and lapis lazuli, were made between 2600-2400 BC, making the Royal Game of Ur the oldest complete tabletop game ever discovered. Archaeological evidence suggests that the game (Game of 20 Squares) was immensely popular with people of all classes. The boards were carried all over the Middle East and sometimes scratched into clay or rock, if no board was available by soldiers, missionaries, explorers and traders, who introduced it to Iran, Syria, Egypt, Lebanon, Sri Lanka, Cyprus and Crete. Variations of the game have been found in King Tutankhamen’s tomb, and etched into pillars in the palace of the Assyrian king Sargon II. For at least 1000 years, the Royal Game of Ur was the national game of ancient Mesopotamia, but it waned in popularity as other games were developed, including those that most likely evolved from it, such as backgammon. Mentions of the game disappeared in the Middle Ages, but a variation, called Aasha, was played by the Jewish people of Kochi, in India. Jews of Kochi had migrated from ancient Babylonia and brought a version of the game with them. The 1928 discovery of the Royal Game of Ur gave scholars an important cultural glimpse into how the ancient Mesopotamians entertained themselves, but there was one problem: The boards did not come with an instruction manual, and that meant that modern-day scholars had no idea how the game worked. In 1980s, Dr. Irving Finkel (a curator and Assyriologist at British Museum), translated a cuneiform script on a crumbling clay tablet that had been brought to the museum by an antiquities dealer. The document sounded remarkably like the rules of an ancient game. The clay tablet written in 177-176 BC by a scribe named Itti-Marduk-balatu, tablet was discovered around 1880 in the ruins of Babylon, according to an academic paper written by Dr. Finkel. “The tablet included a grid on one side,” he wrote, “and two columns of closely written text on the other, adding his name and the date at the end of the inscription.” British Museum bought the relic shortly after it was found and cataloged it. Scholars tried to decipher the cuneiform over the years, but it was Dr. Finkel who was able to identify the text on the tablet as instructions on how to play the Royal Game of Ur after comparing it to the other game boards the museum had stored in its archives. Babylonian tablet revealed that the game is race between two players to get their markers around and off the board. Pyramid-shaped dice are used to indicate the number of squares a player can move, but strategy is involved as well: If a player lands on a square occupied by their opponent, they can knock that marker off, and the opponent must start over again with that piece. That can set a player back by quite a bit, and it is almost impossible to predict who will win, even near the end of the game. But there was another aspect of the game that attracted people: It was said to tell a player’s fortune. According to the cuneiform tablet, some of the marked squares on the board were assigned signs of the zodiac and, with them, predictions that a player would win a beer, make a friend, eat well, or perhaps become powerful and wealthy. 🎥© ancientstristan (IG) #archaeohistories

Archaeo - Histories

93,461 次观看 • 2 年前

Midwinter (1989) by Mike Singleton is a massive game in every sense of the word. For its time, it was incredibly ambitious, blending first-person action, strategy, and RPG elements into a pretty unique package. It was definitely not a "load up and play" game - the learning curve was extremely steep (it took me ages to figure it out). In the story, a meteorite impact has triggered a new ice age, leaving a vast 160,000-square-mile frozen island. You begin as Captain John Stark, a police officer tasked with building a guerrilla resistance against the invading forces of General Masters. You can recruit up to 32 unique characters, each with their own personality, skills (such as marksmanship or mechanics), backstories, and relationships. The game also features a detailed body-part injury system, along with hunger and exhaustion mechanics… and remember, if you think that's sounds a bit "meh, so?", this was released in 1989! It was widely praised at the time for its enormous open world, vector-based 3D graphics, and mix of genres. Many consider it one of the first true open-world games, and being quite ahead of its time.

Midwinter (1989) by Mike Singleton is a massive game in every sense of the word. For its time, it was incredibly ambitious, blending first-person action, strategy, and RPG elements into a pretty unique package. It was definitely not a "load up and play" game - the learning curve was extremely steep (it took me ages to figure it out). In the story, a meteorite impact has triggered a new ice age, leaving a vast 160,000-square-mile frozen island. You begin as Captain John Stark, a police officer tasked with building a guerrilla resistance against the invading forces of General Masters. You can recruit up to 32 unique characters, each with their own personality, skills (such as marksmanship or mechanics), backstories, and relationships. The game also features a detailed body-part injury system, along with hunger and exhaustion mechanics… and remember, if you think that's sounds a bit "meh, so?", this was released in 1989! It was widely praised at the time for its enormous open world, vector-based 3D graphics, and mix of genres. Many consider it one of the first true open-world games, and being quite ahead of its time.

exQUIZitely 🕹️

29,998 次观看 • 5 个月前

At the end of the day, as I discussed with Jordan Peterson, there are just two games to be played, one real, one Woke. The real game is called civilization. The false game is called power. A long post/🧵: The real divide between Woke and not Woke is in power. The Woke game is the power game, and it is a parasite on the real game, which is civilization. Here's roughly how Jordan described the foundation of this idea. There are various rules, norms, etc., in the game society ultimately plays, and these create a hierarchy that is based upon competence, mostly organically, obviously imperfectly. If the rules of the game are good enough, the imperfections (natural corruptions) are minor and society thrives. If they are not, you'll have problems. This is the real game of building society, and it ultimately has to favor competence. This game must be called "civilization" because that's not just its goal but it is also what it does. It civilizes us beyond our base instincts and impulses so we can work together productively in a healthy manner that generates prosperity. As Jordan put it, this game is also a reservoir of value, and reservoirs of value create parasites. What are these civilizational parasites? They’re parallel games organized by and around malignant psychopathological modes like Dark Tetrad traits, psychopathy, and Cluster-B disorders: histrionic, borderline, antisocial, and narcissistic. These malignant pathologies render people incompetent except at manipulation, so they cannot rise far in a healthy civilizational hierarchy. What do they do, then, to gain power and status in life in a game they cannot actually play? They define a parasitic parallel game and rope people into playing it. It is parasitic in that it draws off the real game (civilization) and mimics its form so that the hosts (people in society) are less likely to realize it’s there, but it doesn’t build or create of its own. It siphons and tears down. What drives this game is failing to see what makes the civilizational game and the hierarchy it produces legitimate in the first place. This is characteristic of the psychopathologies at its heart. The narcissist imagines the world should be serving himself at the top, but it isn’t. The problem can’t be himself, so it must be that the game is illegitimate. Otherwise, he’d be at the top, but he isn’t. Therefore, the game is corrupt. His histrionic nature makes him a victim of the real game, preying upon emotions like empathy and righteous indignation to recruit followers. Because of his Dark Tetrad alignment, his game is not only illegitimate but toxic. It’s inherently sadistic, cruel to its recruits in the way typical of all cults—alternating punishment and leniency or even love-bombing. It’s dishonest. It’s psychologically broken from reality. It’s also a Machiavellian game, which means it has no interest in moral or ethical behavior but only in power. Thus, this rival game to the game of civilization is the game of power. The parasitic game—that is, the power game—is based on a fundamental failure to understand the legitimacy of the civilizational game or the approximately legitimate hierarchy it produces. This is a result of its narcissism, mostly. The game cannot be legitimate because the psychopath isn’t on top of it, where he sees himself constantly as a projection from his frail ego. It sees power in the real hierarchy, though, which it can perceive and understand, and for which it blames most of its troubles. What this means is that the (Woke) power game develops a critical theory of the existing legitimate civilization game. That’s why Woke means “using critical theory (and activism).” A critical theory exists not to articulate a vision—at least not beyond a Utopia after the cult power game holds power to enforce its power game long enough—but to “criticize those aspects of the existing society we wish to change,” as Max Horkheimer, creator of the Critical Theory, put it. The critical theory of the power game exists to recruit by delegitimizing the civilization game in the minds of some of its players, usually ones who aren’t succeeding as well. It picks at “contradictions,” failures, and imperfections while casting the whole civilization game as corrupt and unjust. It offers itself as the only alternative to civilization game while pulling at the threads of the civilization game that allow people to believe in it. It all proceeds from the Woke failure to understand the legitimacy of the hierarchy of the civilization game as it proceeds from its set of rules. Misunderstanding legitimacy leads it to conclude that all hierarchies are actually based in power, and all power is fundamentally arbitrary. That is, they do not believe all power is illegitimate. They believe power is the only legitimate thing in any hierarchy, but they also believe that power is located in persons like themselves through their narcissism and projection. Think of Voldemort as an icon of this mode of thinking: “there is no good or evil, only power and those too weak to seek it.” Of course, that quintessential Dark Tetrad perspective is what ensures the psychopathological power game will be rigged to make sure the psychopaths are attracted to it and rise to its top. This belief is what we call Woke. The Woke game is the power game, and it is a parasitic competitor to the civilization game. There is no overlap between these two games. To adopt the power game is to abandon the civilization game entirely and, in fact, to become its enemy. But James, you might ask, isn’t there power in civilization? Yes, there is, and necessarily, but it isn’t what defines the civilization game. It’s a byproduct of the game, not the game itself. The civilization game is fundamentally the building out of an organic and dynamic hierarchy based on a set of rules, or what some people call “muh principles,” that will succeed or fail for that civilization in direct proportion to three things. 1) How aligned with the truth are the rules of the civilization game? 2) How aligned with justice are the rules of the civilization game? 3) How willing are the participants of the civilization game to defend their principles and their game, including against socio-parasitical perversion? The more aligned with truth and justice a civilization game is, the more successful it will be, and the more legitimate its hierarchy. The power that results as a byproduct is extremely legitimate in a highly aligned civilization where people haven’t forgotten their charge to defend the game itself, which is what we call responsibility. A civilization game strongly aligned with truth and justice filled with a preponderance of responsible people will produce a thriving, prosperous society. It only works this way every time. Not everyone is responsible, though. Some are also incompetent because of various pathologies (not talking about for other reasons). Those pathological players may, under certain circumstances, create a parasitic side game with themselves on top through a variety of strategies that mimic the values and principles of the real game while distorting them into power plays because their game is power, as discussed above. They will recruit into that game primarily from those who are resentful of the real game for any variety of reasons, and getting recruited into the power game from the civilization game is called “going Woke.”

At the end of the day, as I discussed with Jordan Peterson, there are just two games to be played, one real, one Woke. The real game is called civilization. The false game is called power. A long post/🧵: The real divide between Woke and not Woke is in power. The Woke game is the power game, and it is a parasite on the real game, which is civilization. Here's roughly how Jordan described the foundation of this idea. There are various rules, norms, etc., in the game society ultimately plays, and these create a hierarchy that is based upon competence, mostly organically, obviously imperfectly. If the rules of the game are good enough, the imperfections (natural corruptions) are minor and society thrives. If they are not, you'll have problems. This is the real game of building society, and it ultimately has to favor competence. This game must be called "civilization" because that's not just its goal but it is also what it does. It civilizes us beyond our base instincts and impulses so we can work together productively in a healthy manner that generates prosperity. As Jordan put it, this game is also a reservoir of value, and reservoirs of value create parasites. What are these civilizational parasites? They’re parallel games organized by and around malignant psychopathological modes like Dark Tetrad traits, psychopathy, and Cluster-B disorders: histrionic, borderline, antisocial, and narcissistic. These malignant pathologies render people incompetent except at manipulation, so they cannot rise far in a healthy civilizational hierarchy. What do they do, then, to gain power and status in life in a game they cannot actually play? They define a parasitic parallel game and rope people into playing it. It is parasitic in that it draws off the real game (civilization) and mimics its form so that the hosts (people in society) are less likely to realize it’s there, but it doesn’t build or create of its own. It siphons and tears down. What drives this game is failing to see what makes the civilizational game and the hierarchy it produces legitimate in the first place. This is characteristic of the psychopathologies at its heart. The narcissist imagines the world should be serving himself at the top, but it isn’t. The problem can’t be himself, so it must be that the game is illegitimate. Otherwise, he’d be at the top, but he isn’t. Therefore, the game is corrupt. His histrionic nature makes him a victim of the real game, preying upon emotions like empathy and righteous indignation to recruit followers. Because of his Dark Tetrad alignment, his game is not only illegitimate but toxic. It’s inherently sadistic, cruel to its recruits in the way typical of all cults—alternating punishment and leniency or even love-bombing. It’s dishonest. It’s psychologically broken from reality. It’s also a Machiavellian game, which means it has no interest in moral or ethical behavior but only in power. Thus, this rival game to the game of civilization is the game of power. The parasitic game—that is, the power game—is based on a fundamental failure to understand the legitimacy of the civilizational game or the approximately legitimate hierarchy it produces. This is a result of its narcissism, mostly. The game cannot be legitimate because the psychopath isn’t on top of it, where he sees himself constantly as a projection from his frail ego. It sees power in the real hierarchy, though, which it can perceive and understand, and for which it blames most of its troubles. What this means is that the (Woke) power game develops a critical theory of the existing legitimate civilization game. That’s why Woke means “using critical theory (and activism).” A critical theory exists not to articulate a vision—at least not beyond a Utopia after the cult power game holds power to enforce its power game long enough—but to “criticize those aspects of the existing society we wish to change,” as Max Horkheimer, creator of the Critical Theory, put it. The critical theory of the power game exists to recruit by delegitimizing the civilization game in the minds of some of its players, usually ones who aren’t succeeding as well. It picks at “contradictions,” failures, and imperfections while casting the whole civilization game as corrupt and unjust. It offers itself as the only alternative to civilization game while pulling at the threads of the civilization game that allow people to believe in it. It all proceeds from the Woke failure to understand the legitimacy of the hierarchy of the civilization game as it proceeds from its set of rules. Misunderstanding legitimacy leads it to conclude that all hierarchies are actually based in power, and all power is fundamentally arbitrary. That is, they do not believe all power is illegitimate. They believe power is the only legitimate thing in any hierarchy, but they also believe that power is located in persons like themselves through their narcissism and projection. Think of Voldemort as an icon of this mode of thinking: “there is no good or evil, only power and those too weak to seek it.” Of course, that quintessential Dark Tetrad perspective is what ensures the psychopathological power game will be rigged to make sure the psychopaths are attracted to it and rise to its top. This belief is what we call Woke. The Woke game is the power game, and it is a parasitic competitor to the civilization game. There is no overlap between these two games. To adopt the power game is to abandon the civilization game entirely and, in fact, to become its enemy. But James, you might ask, isn’t there power in civilization? Yes, there is, and necessarily, but it isn’t what defines the civilization game. It’s a byproduct of the game, not the game itself. The civilization game is fundamentally the building out of an organic and dynamic hierarchy based on a set of rules, or what some people call “muh principles,” that will succeed or fail for that civilization in direct proportion to three things. 1) How aligned with the truth are the rules of the civilization game? 2) How aligned with justice are the rules of the civilization game? 3) How willing are the participants of the civilization game to defend their principles and their game, including against socio-parasitical perversion? The more aligned with truth and justice a civilization game is, the more successful it will be, and the more legitimate its hierarchy. The power that results as a byproduct is extremely legitimate in a highly aligned civilization where people haven’t forgotten their charge to defend the game itself, which is what we call responsibility. A civilization game strongly aligned with truth and justice filled with a preponderance of responsible people will produce a thriving, prosperous society. It only works this way every time. Not everyone is responsible, though. Some are also incompetent because of various pathologies (not talking about for other reasons). Those pathological players may, under certain circumstances, create a parasitic side game with themselves on top through a variety of strategies that mimic the values and principles of the real game while distorting them into power plays because their game is power, as discussed above. They will recruit into that game primarily from those who are resentful of the real game for any variety of reasons, and getting recruited into the power game from the civilization game is called “going Woke.”

James Lindsay, anti-Communist

154,373 次观看 • 1 年前

There was no such thing as Palestine in 1000 BC. In fact, "Palestine" is a word that's made up, and there is some suggestion that Herodotus used the term as a play on words in the Greek period to refer to the Philistine people. The Philistines, by the way, have nothing to do with modern Palestinians, modern Muslim Arabs. They are a non-Semitic people. They are an Indo-European people. They're a Greek people who spoke an Indo-European language, derivative of Greek, and who invaded, not just northern Egypt, but also southwestern Israel, the land we now know as Gaza, at around that time, about 1,000 years before the Romans arrived. The Philistines fought, and this plays out in the Bible, they fought many wars against their rivals. Not just on the western side with the Egyptians, but also on the eastern side with the Jews. And of course, the famous battle with Goliath and David is a battle between the Jews and the Philistines. The point is that by the time of the Greeks, the Philistines had already died out. And Herodotus was playfully making a play on words with the name Israel. The name Israel, as you know, is Hebrew for "He who wrestles with God." And so the Greek word, the ancient Greek word for wrestler, he who wrestles, is "Palaistine." And so since the Philistines were in that land, he had called it Palaistine as a play, a transliteration of the Jewish word or the Hebrew word Israel, He who wrestles with God. The word then disappears from the lexicon, and then there is the Roman conquest of Judea, the land of Israel. Judea, by the way, in Hebrew is just Yehudia. Jew is Yehudi. Yehudia is therefore land of the Jews, the place where the Jews are from. That's the land that the Romans conquered in 63 BC, and the Jews didn't like being conquered by the Romans for a variety of reasons, and they revolted three times. In the third and final revolt of 132 to 135 AD, which we know as the Bar Kokhba revolt, after its leader Simon Bar Kokhba, Simon being the name Shimon, an ancient Jewish name and the second tribe of Israel, but also Bar Kokhba meaning son of the star in Hebrew. In 135 AD, Hadrian, the emperor of Rome, says, "We're done with these Jews. They have rebelled not once, not twice, not three now three times. They do not accept our magnanimity. We have to wipe out any memory of the Jewish presence on this land." And so he does two big things. He first destroys Jerusalem, and he renames it. The Romans like to rename things in order to erase their history. So he changes the name from Yerushalayim, Jerusalem, to Aelia Capitolina. Aelia for his family, the Aelia clan from Spain, and Capitolina for Jupiter Capitolinus, who's the sky god of the Romans. And then he renames the land Judea after the Philistines again and calls it Palestina. And he did that both to punish the Jews and erase any connection between the Jews and their land, but also because he knew that if he named it after a people who had been dead and extinct in the archeological record for a thousand years, there was no risk that they would show up and say, "Hey, the land is our land. You named it after us." So it was a safe way to rename the land. He named it Palestina. I don't think he ever could have imagined just how brilliant the idea would play with young college students in American campuses 2,000 years later.

There was no such thing as Palestine in 1000 BC. In fact, "Palestine" is a word that's made up, and there is some suggestion that Herodotus used the term as a play on words in the Greek period to refer to the Philistine people. The Philistines, by the way, have nothing to do with modern Palestinians, modern Muslim Arabs. They are a non-Semitic people. They are an Indo-European people. They're a Greek people who spoke an Indo-European language, derivative of Greek, and who invaded, not just northern Egypt, but also southwestern Israel, the land we now know as Gaza, at around that time, about 1,000 years before the Romans arrived. The Philistines fought, and this plays out in the Bible, they fought many wars against their rivals. Not just on the western side with the Egyptians, but also on the eastern side with the Jews. And of course, the famous battle with Goliath and David is a battle between the Jews and the Philistines. The point is that by the time of the Greeks, the Philistines had already died out. And Herodotus was playfully making a play on words with the name Israel. The name Israel, as you know, is Hebrew for "He who wrestles with God." And so the Greek word, the ancient Greek word for wrestler, he who wrestles, is "Palaistine." And so since the Philistines were in that land, he had called it Palaistine as a play, a transliteration of the Jewish word or the Hebrew word Israel, He who wrestles with God. The word then disappears from the lexicon, and then there is the Roman conquest of Judea, the land of Israel. Judea, by the way, in Hebrew is just Yehudia. Jew is Yehudi. Yehudia is therefore land of the Jews, the place where the Jews are from. That's the land that the Romans conquered in 63 BC, and the Jews didn't like being conquered by the Romans for a variety of reasons, and they revolted three times. In the third and final revolt of 132 to 135 AD, which we know as the Bar Kokhba revolt, after its leader Simon Bar Kokhba, Simon being the name Shimon, an ancient Jewish name and the second tribe of Israel, but also Bar Kokhba meaning son of the star in Hebrew. In 135 AD, Hadrian, the emperor of Rome, says, "We're done with these Jews. They have rebelled not once, not twice, not three now three times. They do not accept our magnanimity. We have to wipe out any memory of the Jewish presence on this land." And so he does two big things. He first destroys Jerusalem, and he renames it. The Romans like to rename things in order to erase their history. So he changes the name from Yerushalayim, Jerusalem, to Aelia Capitolina. Aelia for his family, the Aelia clan from Spain, and Capitolina for Jupiter Capitolinus, who's the sky god of the Romans. And then he renames the land Judea after the Philistines again and calls it Palestina. And he did that both to punish the Jews and erase any connection between the Jews and their land, but also because he knew that if he named it after a people who had been dead and extinct in the archeological record for a thousand years, there was no risk that they would show up and say, "Hey, the land is our land. You named it after us." So it was a safe way to rename the land. He named it Palestina. I don't think he ever could have imagined just how brilliant the idea would play with young college students in American campuses 2,000 years later.

Roy K. Altman

28,424 次观看 • 2 个月前

BAANX AT ETHCC CANNES: THE FUTURE OF PAYMENTS TOOK CENTER STAGE While Cannes is famous for red carpets and film premieres, this year's ETHCC proved that the real blockbuster story was happening on the 4th floor of Palais des Festivals, where Baanx was rewriting the script for crypto payments. THE MAIN EVENT: SIMON JONES ON PAYMENTS EVOLUTION Chief Commercial Officer commanded the Main Stage with a simple but powerful message: "Why spending crypto should feel like spending cash." It wasn't just a presentation, it was a manifesto for the future of finance. Simon, an OG who's been bridging traditional finance and decentralized tech long before it was cool, didn't mince words about what's at stake. His specialty? Finding solutions that make crypto payments more accessible, secure, and impactful. And at ETHCC, he delivered exactly that vision. BUILDING BRANDS THAT USERS ACTUALLY OWN. When asked about "Building a Brand and Product in Web3," Simon dropped some serious knowledge: "Building brands in web3 is how you start to look at different concepts in the product that have been in existence and redefine how you can reach the global audience. Building a brand in web3 is truly about building a brand that people feel they have a level of ownership engagement." This wasn't corporate speak, this was someone who understands that Web3 isn't just about technology; it's about fundamentally changing the relationship between brands and users. emphasized that "web3 branding is how you build something that connects you to the users" and Baanx is living proof of this philosophy. THE MARKET LEADER PLAYBOOK Simon's formula for dominance was refreshingly straightforward: "You got to build a product that people like, in order to be a market leader." But he didn't stop there. He stressed the importance of building "a product that people interact with everyday" while staying true to brand values and helping users understand the real benefits. WHAT Baanx SHOWCASED: THE CRYPTO LIFE REVOLUTION The Baanx Investment team wasn't just talking theory, they were demonstrating real solutions. Their booth became a magnet for anyone curious about earning crypto just by swiping their Crypto Life Life Card. The value prop was clear: fast, transparent, and low-cost solutions for moving money globally, with just a few lines of code for integration. But here's what set them apart: true self-custody solutions. While others promise decentralization, Baanx delivers it, empowering users with full control over their digital assets without relying on third parties. THE ENTERPRISE GAME-CHANGER Simon Jone's track record speaks volumes. Under his leadership, Baanx has secured incredible enterprise partnerships with industry giants like MetaMask 🦊 and Ledger. These aren't just partnerships, they're validation that Baanx is solving real problems for real businesses. LOOKING FORWARD: THE FINTECH REVOLUTION As fintech companies play an increasingly important role in the global economy, Baanx positioned itself as the key driver of growth in the sector. Their platform is already helping well-known fintech brands expand their product offerings and reach new customers. THE CANNES TAKEAWAY What happened at #ETHCC Cannes wasn't just another crypto conference. It was a glimpse into a future where spending crypto feels as natural as spending cash, where brands build genuine ownership relationships with users, and where the bridge between traditional finance and Web3 isn't just a concept, it's a reality. Simon Jones and the $BXX team didn't just attend ETHCC; they owned it. And based on what they showcased, the future of payments is in very capable hands. The question isn't whether crypto payments will go mainstream, it's whether you'll be part of the revolution. 🔗

I F U R E

16,448 次观看 • 1 年前

Before Sensible Soccer became a legend, this 1989 Commodore Amiga football game changed everything with banana kicks, indoor arenas, and arcade chaos! 5 mind-blowing facts about MicroProse Soccer that prove it was ahead of its time. 1. The Forerunner to a Classic: Developed by Sensible Software (Jon Hare & Chris Yates) for the C64 in 1988 and ported to Amiga in 1989 by Electronic Pencil Company, it directly inspired the legendary Sensible Soccer series. Many call it "Sensible Soccer v0.1". 2. Pioneering Banana Kicks: One of the first games with after-touch! Hold the button and angle your shot for swerving "banana" kicks in three power levels — a game-changer that Kick Off later popularized. 3. Indoor 6-a-Side Mayhem: Besides full 11-a-side outdoor matches, it featured frantic indoor soccer on a smaller pitch with boards (inspired by the real Major Indoor Soccer League). 4. Many retro gamers still argue the C64 original feels snappier (are you one of them), but the Amiga version shines with better graphics and sound. 5. Inspired by an Arcade Hit: Jon Hare based it heavily on the 1985 arcade game Tehkan World Cup (Tecmo), adapting its top-down view and physics for joystick controls while adding original twists. Zzap magazine rated the Amiga version just 62%, did it deserve more?

Before Sensible Soccer became a legend, this 1989 Commodore Amiga football game changed everything with banana kicks, indoor arenas, and arcade chaos! 5 mind-blowing facts about MicroProse Soccer that prove it was ahead of its time. 1. The Forerunner to a Classic: Developed by Sensible Software (Jon Hare & Chris Yates) for the C64 in 1988 and ported to Amiga in 1989 by Electronic Pencil Company, it directly inspired the legendary Sensible Soccer series. Many call it "Sensible Soccer v0.1". 2. Pioneering Banana Kicks: One of the first games with after-touch! Hold the button and angle your shot for swerving "banana" kicks in three power levels — a game-changer that Kick Off later popularized. 3. Indoor 6-a-Side Mayhem: Besides full 11-a-side outdoor matches, it featured frantic indoor soccer on a smaller pitch with boards (inspired by the real Major Indoor Soccer League). 4. Many retro gamers still argue the C64 original feels snappier (are you one of them), but the Amiga version shines with better graphics and sound. 5. Inspired by an Arcade Hit: Jon Hare based it heavily on the 1985 arcade game Tehkan World Cup (Tecmo), adapting its top-down view and physics for joystick controls while adding original twists. Zzap magazine rated the Amiga version just 62%, did it deserve more?

Commodore Computer Museum 🕹

11,174 次观看 • 4 个月前

One of the best ever racing games of the golden era - if not the best one - will turn 40 this year. And it still looks (and sounds!) amazing. It introduced not just one but several new features at the time. Out Run was the first arcade cabinet with a steering wheel featuring force feedback to mimic road surfaces, plus pedals and a gear shift. For a little kid, this was beyond epic. It was also the first to let players choose from three synth-pop tracks (Magical Sound Shower, Passing Breeze, and Splash Wave) via an in-game radio to personalize the vibe. It simulated real Ferrari Testarossa traits (horsepower, torque, and gears) and allowed skillful drifting - or bad drifting, in my case. Another cool fetaure (a "choose your own adventure" if you will) was the forked road (left/right) at certain intervals, giving the player a choice and making it more "interactive". It's no surprise that this legends ultimately became Sega's top-selling arcade game later in 1987 and is still talked about today, in its 40th year.

One of the best ever racing games of the golden era - if not the best one - will turn 40 this year. And it still looks (and sounds!) amazing. It introduced not just one but several new features at the time. Out Run was the first arcade cabinet with a steering wheel featuring force feedback to mimic road surfaces, plus pedals and a gear shift. For a little kid, this was beyond epic. It was also the first to let players choose from three synth-pop tracks (Magical Sound Shower, Passing Breeze, and Splash Wave) via an in-game radio to personalize the vibe. It simulated real Ferrari Testarossa traits (horsepower, torque, and gears) and allowed skillful drifting - or bad drifting, in my case. Another cool fetaure (a "choose your own adventure" if you will) was the forked road (left/right) at certain intervals, giving the player a choice and making it more "interactive". It's no surprise that this legends ultimately became Sega's top-selling arcade game later in 1987 and is still talked about today, in its 40th year.

exQUIZitely 🕹️

18,917 次观看 • 3 个月前

One criticism I always see towards games like Red Dead Redemption 2 and Grand Theft Auto VI recently is the topic of small details. "Why does a game need so many details, it doesn't make the experience any better and takes longer to develop" While I do agree with the fact that Rockstar Games development schedules in between each release keep getting longer, the fact is that when you aim for such a high level of realism in a video-game, its not about graphics anymore, its about immersion. I'm sure that if you played RDR2, you know that your horse sweating or its balls shrinking in the cold don't add much to the gameplay itself, but it makes the game feel like its real. This is precisely what sets apart Rockstar Games from other game studios, the level of immersion you get in those games is unbeaten. RDR2, a game designed for the PS4 console has a level of fluidity and immersion that I have yet to see in a video-game from any other game studio, each game mechanic seems to work flawlessly that it feels like a living and breathing open world game. Hell, sometimes you feel bad for shooting an NPC which never happened to me in a video-game before. When you're playing it, hours can go by and you don't even. In other open-world games, sometimes you can notice limitations, for example the same NPCs appearing in one object or the same scripted conversations. RDR2 manages to make that gap of a video-game and reality feel thinner, not get rid of it entirely of course. Making such a massive game filled with tons of details means that it can be can be played for multiple years after its release and not feel outdated. Its not all about details of course, when a game takes so long to develop, the stakes get higher each time and Rockstar Games has to make sure that they deliver on the story that is being told too, hence the reason why their games have always been historically good in terms of writing. Now to address the elephant int he room, the main issue is that as the complexity increases for each new release and optimizing all of these systems to work in tandem, the development time increases and we get longer periods of waiting. Is all of this worth it? In my opinion, yes. Its Rockstar Games after all, they have the budget necessary and the talent to achieve this kind of feat. Not only does it raise the bar for what is possible to do in a video-game, but it also is highly rewarding when you play the game for the first time and its unlike anything you've seen these past couple of years. When I finished playing Red Dead Redemption 2 for the first time, every new game that came out felt outdated for me. Just as technology keeps going forward, the same applies here with open world games too. What are your thoughts on this topic?

One criticism I always see towards games like Red Dead Redemption 2 and Grand Theft Auto VI recently is the topic of small details. "Why does a game need so many details, it doesn't make the experience any better and takes longer to develop" While I do agree with the fact that Rockstar Games development schedules in between each release keep getting longer, the fact is that when you aim for such a high level of realism in a video-game, its not about graphics anymore, its about immersion. I'm sure that if you played RDR2, you know that your horse sweating or its balls shrinking in the cold don't add much to the gameplay itself, but it makes the game feel like its real. This is precisely what sets apart Rockstar Games from other game studios, the level of immersion you get in those games is unbeaten. RDR2, a game designed for the PS4 console has a level of fluidity and immersion that I have yet to see in a video-game from any other game studio, each game mechanic seems to work flawlessly that it feels like a living and breathing open world game. Hell, sometimes you feel bad for shooting an NPC which never happened to me in a video-game before. When you're playing it, hours can go by and you don't even. In other open-world games, sometimes you can notice limitations, for example the same NPCs appearing in one object or the same scripted conversations. RDR2 manages to make that gap of a video-game and reality feel thinner, not get rid of it entirely of course. Making such a massive game filled with tons of details means that it can be can be played for multiple years after its release and not feel outdated. Its not all about details of course, when a game takes so long to develop, the stakes get higher each time and Rockstar Games has to make sure that they deliver on the story that is being told too, hence the reason why their games have always been historically good in terms of writing. Now to address the elephant int he room, the main issue is that as the complexity increases for each new release and optimizing all of these systems to work in tandem, the development time increases and we get longer periods of waiting. Is all of this worth it? In my opinion, yes. Its Rockstar Games after all, they have the budget necessary and the talent to achieve this kind of feat. Not only does it raise the bar for what is possible to do in a video-game, but it also is highly rewarding when you play the game for the first time and its unlike anything you've seen these past couple of years. When I finished playing Red Dead Redemption 2 for the first time, every new game that came out felt outdated for me. Just as technology keeps going forward, the same applies here with open world games too. What are your thoughts on this topic?

NikTek

26,848 次观看 • 16 天前

Press Release 4/6/2026 Finland broke the law of estoppel (watch 3 videos) From November 2024 to date when Finland government arrested, removed and jailed Simon Ekpa, over 3,000 (three thousand) Biafrans have been either killed or forcefully removed by the terrorist state of Nigeria headed by President Tinubu. The killings and forceful removals of innocent Biafrans by Nigeria headed by President Tinubu was what Simon Ekpa was fighting to stop These facts have been confirmed and condemned by world leaders and court rulings from the United States of America, Canada, Kenya, Nigeria etc.; other international organizations such as the UN, OEAS, AEI - Michael Rubin, Amnesty International, Pan African Forum Ltd., and others have reiterated exactly the words and recommendations of Simon Ekpa. After granting estoppel, the party who made a previous representation or promise is legally prevented from contradicting it, ensuring that the initial statement holds binding authority. Finland recognized the position of Simon Ekpa in Biafra, granted visas and gave immigration passes to Biafrans approved by Simon Ekpa, coming to Lahti Finland for Biafra redeclaration, then turned around to arrest Simon Ekpa and other 4 innocent Biafrans in Finland stating that he Simon Ekpa was inciting Biafrans? Knowing fully well that the oppressed (Biafrans) has the right to use any means legally possible to stop the oppressor (Nigeria), and that the right to resist occupation and oppression is regarded as a fundamental aspect of the human right to self- determination; Finland has the blood of innocent Biafra citizens on its hand as a direct consequence of colluding with Nigeria to break the protection they gave to Simon Ekpa This action exposes the lives of innocent Biafrans who looked up to Simon Ekpa for protection to be massacred by the Nigeria state immediately Simon Ekpa was arrested and beyond. This transnational repression that has cost lives of Biafrans will not be forgiven or forgotten. DPM Office of Melania Trump Eric Trump Donald J. Trump Alexander Stubb Huuhkajat Amnesty International Nigeria Amnesty International USA BBC News (World) BBC Breaking News Sky News Robert Spencer Fox News International Human Rights Foundation Benjamin Netanyahu - בנימין נתניהו U.S. Army UN Spokesperson United Nations African Union European Commission European Parliament NATO Bola Ahmed Tinubu Punch Newspapers Sahara Reporters @

Press Release 4/6/2026 Finland broke the law of estoppel (watch 3 videos) From November 2024 to date when Finland government arrested, removed and jailed Simon Ekpa, over 3,000 (three thousand) Biafrans have been either killed or forcefully removed by the terrorist state of Nigeria headed by President Tinubu. The killings and forceful removals of innocent Biafrans by Nigeria headed by President Tinubu was what Simon Ekpa was fighting to stop These facts have been confirmed and condemned by world leaders and court rulings from the United States of America, Canada, Kenya, Nigeria etc.; other international organizations such as the UN, OEAS, AEI - Michael Rubin, Amnesty International, Pan African Forum Ltd., and others have reiterated exactly the words and recommendations of Simon Ekpa. After granting estoppel, the party who made a previous representation or promise is legally prevented from contradicting it, ensuring that the initial statement holds binding authority. Finland recognized the position of Simon Ekpa in Biafra, granted visas and gave immigration passes to Biafrans approved by Simon Ekpa, coming to Lahti Finland for Biafra redeclaration, then turned around to arrest Simon Ekpa and other 4 innocent Biafrans in Finland stating that he Simon Ekpa was inciting Biafrans? Knowing fully well that the oppressed (Biafrans) has the right to use any means legally possible to stop the oppressor (Nigeria), and that the right to resist occupation and oppression is regarded as a fundamental aspect of the human right to self- determination; Finland has the blood of innocent Biafra citizens on its hand as a direct consequence of colluding with Nigeria to break the protection they gave to Simon Ekpa This action exposes the lives of innocent Biafrans who looked up to Simon Ekpa for protection to be massacred by the Nigeria state immediately Simon Ekpa was arrested and beyond. This transnational repression that has cost lives of Biafrans will not be forgiven or forgotten. DPM Office of Melania Trump Eric Trump Donald J. Trump Alexander Stubb Huuhkajat Amnesty International Nigeria Amnesty International USA BBC News (World) BBC Breaking News Sky News Robert Spencer Fox News International Human Rights Foundation Benjamin Netanyahu - בנימין נתניהו U.S. Army UN Spokesperson United Nations African Union European Commission European Parliament NATO Bola Ahmed Tinubu Punch Newspapers Sahara Reporters @

Ngozi Orabueze Deputy Prime Minister/COS USB

18,816 次观看 • 4 个月前

So a core issues I see with a lot of crypto games is: No in game peer to peer economy. (ie. The game Devs make all the $$ off the items and you buy from them not other players) Couple of things I wanted to experiment with, in regards to on chain gaming is the peer to peer economy. So the way my team set it up, is you mine the token in game, but you sell the items peer to peer in SOL. (see video for a demo) This gives you two different ways to play to earn, you can farm items, from bosses and loot boxes, and sell them to players for solana:So11111111111111111111111111111111111111112 , then other players can buy them and use them to mine the token, and sell the token to traders who will speculate on the price. Or you can just buy the loot boxes, and use the items to farm the token. This should help with the sell pressure, because before the game flow was: Buy item (in token, From devs) --->farm a ton of token---> Sell token to recoup cost of item. New flow is : Player opens loot boxes (paid in token)/ Player Plays game (in game token sinks) ---> gets item ---Lists item--> other player buy Item (From players, In SOL) ----Farms token---> sells token. Now the equation is if the loot box-player spent more game tokens to get the item compared to what he gets for in sol, and it keeps more money in the in game economy, and the market will fluctuate more based on the price of the in game token. So players who play and are "locked in" can make money off arbing and this services the "trader" archetype of player, which I feel is the major player type in web3-games. (also the token name is just a test token so dont buy random shit on pump fun, thats just using the name)

So a core issues I see with a lot of crypto games is: No in game peer to peer economy. (ie. The game Devs make all the $$ off the items and you buy from them not other players) Couple of things I wanted to experiment with, in regards to on chain gaming is the peer to peer economy. So the way my team set it up, is you mine the token in game, but you sell the items peer to peer in SOL. (see video for a demo) This gives you two different ways to play to earn, you can farm items, from bosses and loot boxes, and sell them to players for solana:So11111111111111111111111111111111111111112 , then other players can buy them and use them to mine the token, and sell the token to traders who will speculate on the price. Or you can just buy the loot boxes, and use the items to farm the token. This should help with the sell pressure, because before the game flow was: Buy item (in token, From devs) --->farm a ton of token---> Sell token to recoup cost of item. New flow is : Player opens loot boxes (paid in token)/ Player Plays game (in game token sinks) ---> gets item ---Lists item--> other player buy Item (From players, In SOL) ----Farms token---> sells token. Now the equation is if the loot box-player spent more game tokens to get the item compared to what he gets for in sol, and it keeps more money in the in game economy, and the market will fluctuate more based on the price of the in game token. So players who play and are "locked in" can make money off arbing and this services the "trader" archetype of player, which I feel is the major player type in web3-games. (also the token name is just a test token so dont buy random shit on pump fun, thats just using the name)

Skely

15,064 次观看 • 1 个月前