I've written a bit before about how challenge outcomes provide guidelines for writing during a challenge...how they provide the effective limits of what can happen during a challenge, and how they reveal what the players should be writing towards when playing Strengths and Weaknesses.
Today, I'd just like to take a little time to look at that from a slightly different angle: Outcomes as inspiration.
This falls along similar lines to what I said above: Challenge outcomes reveal what players should be writing towards when playing their cards.
Because of this...challenge outcomes provide ideas.
If you have trouble writing on a challenge, one of the first things you should do is take another look (you did take a first look, right?) at the outcomes for that challenge.
Think about what they mean.
What happens in the outcomes?
What does it mean for the story?
What does it mean for your character?
Then, think about what events might lead to those outcomes.
And now...think about what your character might do that causes those events.
These steps can help you to draw inspiration from the challenge outcomes. They tell you what your character's involvement in the tale is. They tell you what the challenge means to your character - how he sees himself in the midst of the problem at hand. They tell you what your character thinks she is fighting for, or struggling to accomplish. They tell you what your character thinks is slipping away when things go wrong.
They tell you where the possibilities lie. They tell you what paths lead to the different potential endings.
And when you can see a path, and see what your character values in a situation, it can start to become quite a bit easier to think of what your character would do in such a situation. It gives you context, and context is an excellent guide for storytelling.
By taking a look at where the challenge can go, you can make it easier to determine how your character can take it closer to where it can go.
One important point, here: Even if a challenge's path is at this point "certain" - if, for instance, there are 4 Strengths and 1 Weakness or 4 Weaknesses and 1 Strength and there's only two card slots left - I still advise reading both outcomes when you're using this method. Both outcomes still provide valuable context. The Strong outcome still shows what could have gone right. The Weak outcome still shows what could have gone wrong.
In the process, both show what your character's actions would lead towards...even if there's no longer a possibility of the challenge actually getting there. They show what can be nearly grasped...or what can be threatened, but end up avoided.
I encourage reading outcomes ahead of time anyway, simply because of the focus they provide to the story...but they're a great resource when you need a little nudge, a little context, to get yourself thinking on just how you can progress the story of a challenge. They should not be your only resource when you need inspiration, but remember that they are there and put them to good use!
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Ejemplo del mensaje para enviar el producto
sábado, 28 de marzo de 2020
Wargames: MSSA's 24Th Western Cape Championships - 28 And 29 March 2020.
 |
| Knights on the move. |
The MSSA's 24th Western Cape Championships shall be held at Monument Park High School, 40 Dan King Rd, Kraaifontein, 7570, on 28 and 29 March 2020.
In terms of the current regulations, any period may be played to more than one rule set if there are sufficient entries, and a player qualified to act as an umpire has volunteered to umpire such rule set.
The championships shall start on both days at 9H00. Players need to register at least 30 minutes before the start of play.
The following periods have qualified to be played, and shall be, should sufficient entries be received:
ROUND 4 | |||||
9H00-12H00 | |||||
17h00 - 20h00 | 9H00-12H00 | ||||
13H00 - 16h00 | 9H00-12H00 | 14H00 – 17H00 | |||
ROUND 2 | ||||
14H00 – 15H30 | 16H00 – 17H30 | |||
In keeping with Mind Sport South Africa's policies re development programmes, entries are free and gratis to registered players who are unable to afford to enter such championships should the member club formally request assistance. Such applications must be directed to the MSSA at: e-mail: mindsportscorrespondence@gmail.com
Please note that if there are not at least 10 players entered for a figure gaming period, then such period shall be played to four (4) rounds and not five (5).
Entry fees are: R71.00 for figure gamers.
Only players who are registered with fully-paid-up members may participate.
Players are reminded that the majority choice of rules as at the closing date for entries shall be used.
Entry fees must be deposited directly into Mind Sports South Africa's account, held at ABSA Bank, account number, 90 4766 7676.
All entries, and army lists (if applicable) must be e-mailed to: Colin Webster at minndsportscorrespondence@gmail.com on or before 19 March 2020.
Also read:
- How school clubs affiliate for the 2020 season.
- The various events held by Mind Sports South Africa.
- New National Team Selection Criteria
- Selecting the national Protea teams for Mind Sports South Africa.
- Boardgames: MSSA's 24th Western Cape Provincial Championships - 28 and 29 March 2020.
- Esports: MSSA's 24th Western Cape Provincial Championships - 28 and 29 March 2020.
Storium Basics: Playing Off Each Other
Welcome back to Storium Basics, where each week I'm going through a basic aspect of Storium play. This week, I'm going to talk about something that's a little bit more advanced: playing off of each other and leaving openings.
Storium games are stories, and that means that scenes work best when they feel interconnected. It's easy to lose sight of that when you are writing independently, often at different times from the other players. However, it is important to make a conscious effort to tell a continuous story between your moves and those of other players. You're not just writing the tale of your own character - you are writing the story of the challenge, and the scene, overall.
When you write a move, look back at what has happened so far in the scene and call upon it to set the stage for your move or give you things to react to. Is a statue falling over? Show it crashing to the ground. Did a friend just get hit? Call out if he's okay, or go to his aid. Did someone just do something totally awesome? React to it!
Tell the overall story, not just your own actions.
Additionally, I encourage you to leave openings in your moves for others to use. You don't have to call out specific other players to use them - in fact, unless you have a very good relationship with a player I advise against doing that - but it's very helpful to your fellow writers if you raise a situation in your move that you do not resolve or close.
This could be noting that a bandit escaped and you couldn't get him, or that you got kicked into something heavy and now it is starting to fall, or that there's an enemy starting to draw a bead on you and you don't see it, or an enemy wizard casting a spell...as appropriate for the situation and story, of course, but you get the idea. If you are writing something other than the final move of a challenge, leave cues out there people can pick up on.
If someone does leave those cues out there for you, use them. You can resolve them quickly (maybe you call a warning or shoot the enemy who was lining up a shot on the previous player, then go on to do other things), or make them the focus of your move (your entire move is about how you race against time and get there before the shot, maybe, or about the fight between you and the bandit when you get there).
Then, leave your own openings too!
One quick further note on this: This is another reason you want to have detail and story to your moves. It is much easier for people to play off of moves if there are details they can latch on to, and if you show your impact. So when writing moves, Add some detail, and especially remember that if you play a card you need to show what impact the card has on the scene. Don't just explain how your trait is good or bad - show the effect it has, and make us feel it.
For instance, if you're "Clumsy," maybe you trip up and bandits get past you...and run straight for a group of villagers, brandishing their weapons and putting them in danger. If you have "Mighty Muscles," you move a heavy stone in front of the gate...and the bandits struggle with it before being forced to go another way, giving you time to send some guards that way too. Things like that. Don't write the entire battle in one move, of course, but be sure we feel the impact of each move.
Finally, Storium works best if there's at least a little shared writing rights to the player characters—and definitely to the NPCs. Here are my rules - these are what I find work well, but different games may have different rules on this, so be sure to check on this with your narrator.
Player Characters: Players should allow other players to use their character for basic statements, basic questions, or assistance with actions as required for moves without requiring them to ask beforehand. They can always politely request a change if they want, and the writer should be amenable to doing so. If you want to write more heavily for another player character, I advise then asking for permission first, unless you've already established a good collaborative relationship. And, of course, if you're writing for someone else's character, keep their portrayal consistent as you can.
Non-Player Characters: Non-Player characters, especially those established by the Narrator, are generally totally free for players to write in whatever way they choose, within the bounds set by a challenge. I may sometimes provide guidelines for NPCs, but by and large, they're your tools to play with. In rare cases an NPC heavily important to the storyline may be treated more like a player character, but I'll always say so if that's the case.
Those are what work well for me, but again, this is a good thing to check on with your narrator. Some games have a tighter atmosphere where characters need to be more solidly held by their creators, and others have a very loose atmosphere where even more is allowed. Some players, as well, will permit more with their specific character even if the rest of the game is tight.
If in doubt, there's no harm asking.
Want to know more about playing off of each other and leaving things open? Here are some further articles I've written on this and related topics:
Storium games are stories, and that means that scenes work best when they feel interconnected. It's easy to lose sight of that when you are writing independently, often at different times from the other players. However, it is important to make a conscious effort to tell a continuous story between your moves and those of other players. You're not just writing the tale of your own character - you are writing the story of the challenge, and the scene, overall.
When you write a move, look back at what has happened so far in the scene and call upon it to set the stage for your move or give you things to react to. Is a statue falling over? Show it crashing to the ground. Did a friend just get hit? Call out if he's okay, or go to his aid. Did someone just do something totally awesome? React to it!
Tell the overall story, not just your own actions.
Additionally, I encourage you to leave openings in your moves for others to use. You don't have to call out specific other players to use them - in fact, unless you have a very good relationship with a player I advise against doing that - but it's very helpful to your fellow writers if you raise a situation in your move that you do not resolve or close.
This could be noting that a bandit escaped and you couldn't get him, or that you got kicked into something heavy and now it is starting to fall, or that there's an enemy starting to draw a bead on you and you don't see it, or an enemy wizard casting a spell...as appropriate for the situation and story, of course, but you get the idea. If you are writing something other than the final move of a challenge, leave cues out there people can pick up on.
If someone does leave those cues out there for you, use them. You can resolve them quickly (maybe you call a warning or shoot the enemy who was lining up a shot on the previous player, then go on to do other things), or make them the focus of your move (your entire move is about how you race against time and get there before the shot, maybe, or about the fight between you and the bandit when you get there).
Then, leave your own openings too!
One quick further note on this: This is another reason you want to have detail and story to your moves. It is much easier for people to play off of moves if there are details they can latch on to, and if you show your impact. So when writing moves, Add some detail, and especially remember that if you play a card you need to show what impact the card has on the scene. Don't just explain how your trait is good or bad - show the effect it has, and make us feel it.
For instance, if you're "Clumsy," maybe you trip up and bandits get past you...and run straight for a group of villagers, brandishing their weapons and putting them in danger. If you have "Mighty Muscles," you move a heavy stone in front of the gate...and the bandits struggle with it before being forced to go another way, giving you time to send some guards that way too. Things like that. Don't write the entire battle in one move, of course, but be sure we feel the impact of each move.
Finally, Storium works best if there's at least a little shared writing rights to the player characters—and definitely to the NPCs. Here are my rules - these are what I find work well, but different games may have different rules on this, so be sure to check on this with your narrator.
Player Characters: Players should allow other players to use their character for basic statements, basic questions, or assistance with actions as required for moves without requiring them to ask beforehand. They can always politely request a change if they want, and the writer should be amenable to doing so. If you want to write more heavily for another player character, I advise then asking for permission first, unless you've already established a good collaborative relationship. And, of course, if you're writing for someone else's character, keep their portrayal consistent as you can.
Non-Player Characters: Non-Player characters, especially those established by the Narrator, are generally totally free for players to write in whatever way they choose, within the bounds set by a challenge. I may sometimes provide guidelines for NPCs, but by and large, they're your tools to play with. In rare cases an NPC heavily important to the storyline may be treated more like a player character, but I'll always say so if that's the case.
Those are what work well for me, but again, this is a good thing to check on with your narrator. Some games have a tighter atmosphere where characters need to be more solidly held by their creators, and others have a very loose atmosphere where even more is allowed. Some players, as well, will permit more with their specific character even if the rest of the game is tight.
If in doubt, there's no harm asking.
Want to know more about playing off of each other and leaving things open? Here are some further articles I've written on this and related topics:
lunes, 23 de marzo de 2020
Shadow Of The Comet – Miss PICOTT's Dominion
Written by limbeck
The town of Illsmouth is quaint, but what about the forest surrounding it? I am curious to scout the forest, in case there are any locations I was missing. I am wrong. The forest consists of a sort of a maze, with only a handful of different screens, that I believe are connected in the same way. So if I went left in location A, I would always end up in location B. I could have been moving west for ten screens only to go east once and end up in the town. Anyway, in my hikes I pick up three branches and a creeper for no apparent reason other than that my lasersight identified them.
Having wasted about twenty minutes trying to map the forest, in vain for the reasons explained above, I decide that I need a map, so I head back to my room to see if Boleskine's map would be of any use. But while I am passing through the town square, it is occupied by a troupe of gypsies, fully staffed with guitarist, dancer and bear. While I listen to their music, a policeman (Sgt BAGGS) arrives and does what policemen do according to my experience.
At least I get a friendly word from the gypsy lady, who is a fortune-teller. I expect I will find them later in the forest, if I have any idea where that clearing is. I don't think it is the same as the location with the cross I am looking for. I leave the area and return immediately. The scenery has again changed. Now it is a young lady sitting on the bench, next to, maybe you guessed it, Miss PICOTT. The young lady is GLORIA, PICOTT's niece. Trying to speak to them gets me a greeting from GLORIA,which then gets her a prudency lesson by Miss PICOTT. I stay a bit longer and eavesdrop their discussion. See, I can be nosy as well.
I find out that GLORIA is dating RENATO SMITH, who has apparently stolen JED's mule. So, Miss PICOTT appears to be the local matchmaker, as she suggests GLORIA marries Mr BATES, who is in the ripe age of 34. There was also something about fake jewels, but I don't pay any more attention after a while.
I return to my room, but I cannot open my chest to get my camera or the map or anything really. Previously I could open it and I registered these items, but now I did not even get a description. I thought it was some kind of bug, so I reloaded and tried again, but nothing happened. So, I was probably missing something. So, I set out to my favourite activity in Illsmouth: wandering and paying unsolicited visits to people's houses. I have mentioned in the previous post that JUGG has BOLESKINE's rifle hanging from his wall. What I did not mention is that the rifle has an engraving that I could not read without a magnifying glass. I found the magnifying glass in the Archives after a bit more wandering about.
It took me that long for two reasons. One, I foolishly assumed that the door to the Archives would be locked after JUGG left. It wasn't. Two, I had not properly looked around. At the back of the room there was a row of cabinets that I could examine. One had some interesting genealogical information about the town and Mr JUGG in particular.
In the same cabinet I also find documents saying that BOLESKINE sold all his equipment to buy a ticket home. So, that's how his rifle ended at JUGG's house. He probably has more of BOLESKINE's belongings. I should investigate. But first, I need to read the inscription on the rifle. I get the magnifying glass I find in another cabinet and go to read. The inscription provides some cryptic clues about some SEARCHER, which for some reason I assume it refers to some Suzan. Another visit to the Archives did not reveal anything new.
Now, when I return to my room, I can open my chest and pick up the map and BOLESKINE's drawing that I had won in the auction at Christie's. And here we come to the first bit of this session that annoyed me. I had the map and the drawing and I could do nothing with them. No new dialogues came up and they would not interact with anything. I spent some time walking around the town making small talk only to return to my room and realise that I could now open the chest of drawers again. I could not do it before having map and drawing in my hands. I need to be very careful and again check everything everywhere.
Now that I knew I can, I open the drawer and got some surgical spirit and absorbent cotton that were lying there. That B&B seems well equipped and even has rudimentary First Aid kit. 4 out of 5 stars. I am not sure what to do with these, but I tried using them and I end up with cotton soaked in ethanol (presumably). It will be useful to rub a wound I guess. But, even having it, I did not know what to do. I tried using all the items I had, but without luck. All I got was a "Useless" when I tried to use the map. The lack of feedback when I try to do something is a bit annoying as well.
Anyway, to sum it up, I had the idea correct, but the position was wrong. When I try to use the drawing when I stand closer to the desk at the bottom left, I put the drawing on the furniture and now I can use other items on it. The soaked cotton in particular. BOLESKINE had left another clue underneath.
And now I know what to do. I put the map on the desk and, I initiate a sort of minigame. My map has Searcher and Beast, which both appear in BOLESKINE's notes. I assume that I have to look south of the Searcher and NE of the Beast. I make a note on the map, but I am not confident it is correct. I never got feedback that I had spotted the location. When I try later, I can put a different mark, but I decide to go with my first choice.
Satisfied with myself and annoyed with the puzzles, I head out to town again. Outside of the pharmacy I meet MYER from the general store. Continuing his good record of customer service, he suggests I speak to Nathan TYLER, the lighthouse keeper, who could guide me through the forest. Now, why did nobody tell me this earlier? MYER also says some not so nice things about WILBUR's sons and WILBUR HAMBLETON himself when I ask about him. He does not avoid them himself, since they seem to keep the local economy going.
MYER told me that TYLER would be at the tavern, so I headed there. Outside it I meet Dr COBBLE. When I ask him about a guide, he fakes poor health and also suggests TYLER, with the additional comment that he "drives a hard bargain".
Dr COBBLE also revealed that he leads the Temperance League of Illsmouth along with, who else, Miss PICOTT. Apparently he was bullied into it by her.
In the tavern, I was warned once again about TYLER by Thomas BISHOP, a sailor, but not about his prices. When he came, we immediately started chatting about him taking me to the forest. He asked for $20, which was quite steep, but as soon as he learns my name, he offers to take me there for free.
I agree immediately and we go to his house for some soup (smelled nice) and we would head out right away. What could go wrong?
After my first death in the game, I reload and this time tell TYLER that I want to think about it. As soon as I do, somebody throws a stone through the window and breaks the glass. We head outside and see the HAMBLETON boys roughing up somebody called WEBSTER. BISHOP and TYLER just sit around for the spectacle and I cannot seem to be able to do anything apart from listening to the annoying repeating sound sprite of punches. Well, not really, as I find a baseball bat nearby and grab hold of it. By the time I do, the HAMBLETON boys have knocked Webster unconscious, so I can get a clear shot. The HAMBLETONS are not so happy with me, but they leave.
I take WEBSTER to the pharmacy, where the doctor/pharmacist treats his wounds, while his daughter warms up to me, I want to think for my bravery and my stunning accent. She starts saying that her father is an avid photographer, only for him to interrupt her and say it himself. He also offers his dark chamber to develop the photos. That's something I hadn't thought about until now. Thank you sir.
The pharmacist is not the only unexpectedly helpful person here. WEBSTER offers to be my guide to the calvary in the woods. We agree to meet in front of the town hall in an hour and I should bring my map with me. Maybe a camera as well. I decide to do another round in the town before I collect my stuff, but there is nothing important. JUGG is now at the Archives and he sends me to the tavern to find a guide. I am not sure I should trust him now. In JUGG's room, I pull a curtain which was hiding a door, but I cannot do anything with that. I'll be back later. I hope.
I go back to my room, where I pick up my camera, its tripod, a lantern and "lens", which looks like a flashlight. As soon as I get out on the street again, it is night.
As agreed, I meet WEBSTER outside the town hall and we head off. He is kind enough to carry my tripod. He leads me to a place in the forest, just before the calvary with the cross. There is a wooden bridge I can cross. As we arrive, there is some rustling in one of the bushes. WEBSTER suspects someone is following us, but I think he is paranoid. I try poking it with a stick, but it is not possible. I head on.
I finally arrive at the opening with the cross, but I do not have the tripod with me. WEBSTER ran away with it. I am pretty sure if you are scared to hell, you'd run faster without a cumbersome tripod, but what do I know.
Anyway, here is where the three sticks and creeper come in handy. I put the three sticks down and tie them with the creeper. I place my camera on top and unwrap the plates. I use them one by one on the camera and get three exposed plates.
Now I sit here and do not really know again what to do. I walk back to town, but there is no cutscene or any other indication that something has changed. Well, I think I was getting tired by this time, because if I headed east from the cross, I would arrive to a different location. There, a black cat runs past and hides in the undergrowth. This is a nice hint that I should go and check there. I do and I reveal a hidden passage. I walk to the passage and arrive at the scene of a ritual, led by a Native American (the game says Indian). Where I am noticed and killed.
I died several times in this scene and I will blame it partially on the game. When I am noticed, I run back to the area with the passage, but I cannot do anything with any of the objects I have. I try to flash the cultist in the face, hit him with the lantern or even take his photo. The game allowed me to access my inventory, but not do anything else. I always ended up in ashes.
It turns out that what I had to do was much simpler. As soon as I arrive at the clearing, I have to jump to the right and hide behind a tree. I must here state my hate for quicktime events or the like. And the fact that the game allowed me freedom after I was spotted set me on a different train of thought.
Anyway, to finish this very long post, I am hiding behind the tree, the ritual proceeds and the cult leader cuts his wrist with a knife. Then, a flying creature, I assume the owl from the intro, comes and drops a parchment. I pick it up quickly in a cutscene and run like hell to the safety of the town, smashing the arrow keys in a panic. In the meantime, I learn that in two nights time (i.e. when I plan to photograph the comet) Cthulhu will wake up to reign again and the Native American's name, which is even more complicated than a chant to Cthulhu to write down.
As I run, I stumble in front of Dr COBBLE's house and wake up the next morning in my bed. Dr COBBLE examined me and ordered a lack of excitement, as I run the risk of a heart attack. He prescribed me some pills for the heart.
Meanwhile, I try telling him about the ritual and the Native American, but he was dismissive. He mentioned someone like him living in the forest, but the names did not match. Finally, he joked about the elixir of eternal life, because the name I gave him belonged to someone that lived a few centuries ago.
Apologies for the long post. Next week we will try and develop the photos and make sure we do not die of a heart attack.
Session time: 2:00
Total time: 3:30
Sanity lost: 3 from witnessing the ritual
Total sanity lost: 4 (still sane, but a bit twitchy)
PS. Can anybody let me know if I would still be able to set out if I hadn't marked the correct spot on the map? Right now, it feels as if it didn't really matter.
The town of Illsmouth is quaint, but what about the forest surrounding it? I am curious to scout the forest, in case there are any locations I was missing. I am wrong. The forest consists of a sort of a maze, with only a handful of different screens, that I believe are connected in the same way. So if I went left in location A, I would always end up in location B. I could have been moving west for ten screens only to go east once and end up in the town. Anyway, in my hikes I pick up three branches and a creeper for no apparent reason other than that my lasersight identified them.
Having wasted about twenty minutes trying to map the forest, in vain for the reasons explained above, I decide that I need a map, so I head back to my room to see if Boleskine's map would be of any use. But while I am passing through the town square, it is occupied by a troupe of gypsies, fully staffed with guitarist, dancer and bear. While I listen to their music, a policeman (Sgt BAGGS) arrives and does what policemen do according to my experience.
 |
| Bully some easy targets |
I speak to the officer, who starts quite friendly, already knowing who I am of course. When I say I am thinking of taking a hike in the forest, he advises against it, unless I have a map. Otherwise I could get lost (I KNOW!). And he has to kick the gypsies out, towards the clearing in the forest, probably so they get lost as well. When I try to defend the troupe, he pulls his authority on me and says I should respect it, or else.
 |
| You will respect my authoritah |
I find out that GLORIA is dating RENATO SMITH, who has apparently stolen JED's mule. So, Miss PICOTT appears to be the local matchmaker, as she suggests GLORIA marries Mr BATES, who is in the ripe age of 34. There was also something about fake jewels, but I don't pay any more attention after a while.
 |
| Don't mind me. I'm just enjoying the scenery |
It took me that long for two reasons. One, I foolishly assumed that the door to the Archives would be locked after JUGG left. It wasn't. Two, I had not properly looked around. At the back of the room there was a row of cabinets that I could examine. One had some interesting genealogical information about the town and Mr JUGG in particular.
 |
| Typical of small towns, everybody is related. No idea about SPRAGUE |
 |
| Jumping to conclusions |
Now that I knew I can, I open the drawer and got some surgical spirit and absorbent cotton that were lying there. That B&B seems well equipped and even has rudimentary First Aid kit. 4 out of 5 stars. I am not sure what to do with these, but I tried using them and I end up with cotton soaked in ethanol (presumably). It will be useful to rub a wound I guess. But, even having it, I did not know what to do. I tried using all the items I had, but without luck. All I got was a "Useless" when I tried to use the map. The lack of feedback when I try to do something is a bit annoying as well.
Anyway, to sum it up, I had the idea correct, but the position was wrong. When I try to use the drawing when I stand closer to the desk at the bottom left, I put the drawing on the furniture and now I can use other items on it. The soaked cotton in particular. BOLESKINE had left another clue underneath.
 |
| Are we sure he was not just rating his B&B? |
 |
| Or somewhere around there |
Dr COBBLE also revealed that he leads the Temperance League of Illsmouth along with, who else, Miss PICOTT. Apparently he was bullied into it by her.
 |
| Who really rules in this town? |
 |
| You can wait in the bathroom while I go get my axe. |
 |
| Now I know why the soup smelled so nice |
 |
| I'm here to chew bubblegum and kick some HAMBLETONS |
 |
| I need to say that I have not mentioned photography to many |
I go back to my room, where I pick up my camera, its tripod, a lantern and "lens", which looks like a flashlight. As soon as I get out on the street again, it is night.
 |
| Some nice change of colours and shades with the darkness |
 |
| Don't forget to leave the trip...oh |
Anyway, here is where the three sticks and creeper come in handy. I put the three sticks down and tie them with the creeper. I place my camera on top and unwrap the plates. I use them one by one on the camera and get three exposed plates.
 |
| So, did I really need the map to come here |
 |
| I see TYLER, WILBUR, Dr COBBLE I think and who else? |
 |
| I lost count of how many times I saw this close-up |
Anyway, to finish this very long post, I am hiding behind the tree, the ritual proceeds and the cult leader cuts his wrist with a knife. Then, a flying creature, I assume the owl from the intro, comes and drops a parchment. I pick it up quickly in a cutscene and run like hell to the safety of the town, smashing the arrow keys in a panic. In the meantime, I learn that in two nights time (i.e. when I plan to photograph the comet) Cthulhu will wake up to reign again and the Native American's name, which is even more complicated than a chant to Cthulhu to write down.
As I run, I stumble in front of Dr COBBLE's house and wake up the next morning in my bed. Dr COBBLE examined me and ordered a lack of excitement, as I run the risk of a heart attack. He prescribed me some pills for the heart.
 |
| Well, I don't go around looking for excitement. It just finds me |
Apologies for the long post. Next week we will try and develop the photos and make sure we do not die of a heart attack.
Session time: 2:00
Total time: 3:30
Sanity lost: 3 from witnessing the ritual
Total sanity lost: 4 (still sane, but a bit twitchy)
PS. Can anybody let me know if I would still be able to set out if I hadn't marked the correct spot on the map? Right now, it feels as if it didn't really matter.
viernes, 20 de marzo de 2020
Sanity Slips Away!
What's going on everyone!?
Today was a pretty rough day and I actually ended up hurting my back more than ever. It really sucks and is insanely painful but it's not like I knew I was going to hurt my back today any worse than it already is.
For the #2019gameaday challenge I played a game of Elder Sign: Omens and completely succumbed to the darkness.
As always, thank you for reading and don't forget to stop and smell the meeples! :)
-Tim
jueves, 19 de marzo de 2020
The Gotek Floppy Drive Emulator In The IBM PC World
The Gotek floppy drive emulator is a simple, cheap and little device that, as its name says, emulates a floppy drive. There are many varieties of these devices and they usually come with a USB port on the front of the unit and a 34-pin header + 4-pin power header on the back. While originally intended to replace disk drives in industrial, sewing and musical equipment, they can be used with standard PC floppy controllers. However, as they come they are at best diamonds in the rough, so in this blog entry I will describe how to make these devices more useful for vintage IBM PCs and compatibles.
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First In Battle, First In Rankings.
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| Team FiB JNR remain in pole-position in the rankings. |
The competition during 2019 proved to be fiercely contested with Monument Park High School winning much of the cutlery on offer, however, team 'BOO Implode' denied Team FiB JNR the honours at MSSA's South African National Championships.
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| BOO Implode are ranked in second place - but for how long? |
Nevertheless, Team FiB JNR remain in pole-position in the rankings with a commanding lead.
With the gruelling 2020 season still to get underway, it will be interesting to see if Team FiB JNR will be able to maintain their position.
The current South African rankings for the Paladins esports title is as follows:
Also read:
- Selecting the national Protea teams for Mind Sports South Africa.
- The road to Eilat
- IESF announces first three titles for 12th World Championships
- Esports: MSSA's 24th Western Cape Provincial Championships - 28 and 29 March 2020.
- Board gaming: MSSA's 23rd Western Cape Championships - 23 & 24 March 2019
- Rankings: DotA 2 rankings
- Rankings: PRO EVOLUTION SOCCER (PES) rankings
- Rankings: Tekken 7 rankings
- Video on NWU sponsorship.
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