quinta-feira, 19 de março de 2020

Recent Playtesting - Sails And Sorcery: Some Details

The last few weeks, my Saturday playtest sessions have been spent playing Michael's game, Sails and Sorcery. It's kind of a mashup of my game Eminent Domain and the area control classic El Grande.

In Sails and Sorcery you are a pirate captain, sailing your ship from island to island, recruiting and deploying pirates, building structures, and summoning monsters in an attempt to make off with the lion's share of treasure when it's found in those areas.

Michael had been working on it for a while, he talked about it on the TMG podcast last year. In October, Mike figured it was time to get my input, so he brought the prototype to town with him for Rincon, we played a few times, and he left it with me to work on.

Role Selection


Because it was based on Eminent Domain, the game had a role selection mechanism (where opponents can follow your role). Michael had noticed an issue with that however, and he had disallowed following in the last round of the game. The issue was that if I make a play -- putting pieces on the board, or moving them around -- it's really easy for other players to undo my play by simply following. Disallowing the follow in the last round didn't fix the issue in the other scoring rounds earlier in the game though.

So one thing I suggested as we played was that maybe it should not be a role selection game at all. In other words, maybe there doesn't need to be following in the game. Role selection (the lead-follow dynamic) is the entirety of the player interaction in Eminent Domain, but in this game there is interaction on the board as players vie for control of different areas by having the most pieces there. With that interaction, the role selection isn't as necessary, so we tried it without.

However, without being able to act on other players turns, we wouldn't be able to get as much accomplished. So in place of following, we just did an additional role each turn (I'm going to continue using the term "role" here to mean "thing you get to boost with other cards," even though the terminology isn't as accurate any more. "Action" simply means playing 1 card for it's effect, no boosting). This seemed to work fine, and so the first few tests I did recently continued to use 1 action and 2 roles per turn, in that order.

One of my playtesters really wanted a more flexible turn order, because frequently you want to do your 2 roles in different locations (you act in the location where your ship is located), and so he wanted to do role/action/role, using the action to move his ship. I was hesitant to try this because Michael and I had said the same thing back in October, and we tried it, and I immediately did not like the results. This was partly because the "action" part of your turn was really resolving your whole ship, which had multiple things you could do.

However, I acquiesced to try it again, but with a simplified ship such that your abilities from your ship we're more static (like role icons), so it was just the card action you would be doing "out of order." We tried it, and it wasn't too bad, but I still didn't like it, maybe because I prefer the organized turn structure.

Then that player had an additional suggestion, to replace the action with another role. Most of the actions are miniature (1-icon) versions of the role anyway, so if we didn't have actions and just did 3 roles, then a bunch of rules overhead drops out, and the turn flexibility increases without feeling too weird or out of order. In addition, we said that taking a card for the role from the stacks (another aspect based on Eminent Domain) was optional. If you did it, then you'd have an additional icon for the turn, and another card in your deck. If you didn't, then you would miss out on that icon, but you could avoid bloating your deck with the card if you wanted. You only have so many cards in your hand, so often times one of your roles will only be for 1-2 icons. In that respect, the role/role/role format isn't really all that different from action/role/role after all.

We tried this new format once, and I was skeptical. I thought it would produce too much AP, or have other issues. However the first play with that format didn't take any longer on the clock than the game we had just finished using the old format. So I'll try it again next time.

Monsters and their cost


Another aspect I've been tinkering with is the monsters in the game. Originally, you could use a build role to build a building, which gave you permanent influence in an area, and unlocked some ability (like the buildings in Crusaders), or summon a monster, which had some cool effect, but was otherwise similar to a building. Michael had envisioned pieces like in Blood Rage - large miniatures with player colored bases that you could snap on to show who had summoned the monster. You needed to know that, because often times the monster counted as influence toward scoring (just like your buildings did).

My opinion was that the monsters and buildings were too similar, so I suggested making them more different from each other. Buildings give you influence and power ups, so I thought monsters should give you some awesome immediate effect, and then stay in play with some global effect for everyone, like it or not. I liked the image of summoning a force of nature and then being unable to control it.

My first draft of the monsters was to make them the high end of the build role. For 2 or 3, you build a building. I tried the monsters costing 5 (and if you were really interested in summoning them, there's a way to get a build icon from one if your buildings). This was too high a cost, by the time we were ready to summon the monsters, the game was over. Michael wants them to see play every game, not just some of them, and not just maybe, and not just at the end. And I agree with him.

I also thought it was weird that the same resource both built you buildings and summoned monsters. So I made 2 changes... First, I separated the roles. You use build roles to place buildings for influence and abilities, and you use summon roles to summon monsters. I set the summon cost of the monsters to be 2 summon icons, plus 1 more for each time that monster has been summoned in the past. This is easily tracked by dropping a token on the monster card after you summon it.

I have iterated through a few versions of each monster, but I am now super happy with this format and the current effects of the monsters. Splitting up the resources was great, and this cost structure is perfect. The monsters all start out cheap, so they get used. Then they get more expensive over time so that in the late game it's hard to afford them if you haven't been summoning all game long.

Buildings


The monster cost structure worked so well, I wanted to try it with the buildings too. The buildings on your player board (your ship) are in 4 rows of 2 columns, and for each row you must build left to right, just like Crusaders. Originally, the buildings in the left column cost 2 build icons, and the buildings in the right column cost 3. Additionally, each area had a certain number of build spaces (usually 2 or 3), and no more than that number of buildings could be built there.

Thinking about the escalating monster cost, I tried eliminating the build limit and old cost structure, and instead tried "buildings cost 2 icons, plus 1 more for each building already in that area. This way, you can build cheaply if you spend time sailing around or get to an area first, but once there are 2 buildings in an area, you will have a hard time building there again if you haven't specialized in it a bit, either by investing in the building that gives you a build icon, or by obtaining a number of build cards into your deck.

This works well because each building also increases the value of the area for the 1st place player during scoring.

The effects you unlock from moving these buildings off of your player board have also changed a bit. Originally, some of them were static effects, such as a role icon, or a hand size increase, and some were additional actions you could do at the beginning of your turn. While it was fun to do an extra action at the beginning of your turn, it often wasn't as useful as you wanted it to be. A free deploy doesn't help if you need to recruit pirates. A free plunder doesn't help if there aren't any opponents where your ship is. This is the kind of frustration that prompted the desire for a more flexible turn structure, but it's also the reason the more flexible turn structure was problematic. The game action happens with the card play, so it made sense to me that the buildings could all be static effects rather than additional free actions. Removing the game action from there made the flexible turn structure a lot more acceptable feeling. I've been tweaking and trying different combinations of unlock abilities, but most of them are the same as they were back in October. I'm trying to make sure there are a variety of strategic paths available in the abilities, but also make sure that you aren't forced to build a certain way (or at all) in order to succeed. Like the technology in EmDo, I expect players will build at least a little each game, and if they concentrate on it, maybe they'll build a lot. I expect most players to end the game having built anywhere between 2 and 6 of the 8 buildings and still be able to be competitive.

There are a bunch of other details I've been working on, but these were some of the biggest (and most recent) changes I've tried. Perhaps I'll post again later about other aspects, such as the scoring round format :)

Kickstarter Ending Soon - Dreamforge Games Grav-StuG Tank


Take me to the Kickstarter...


What does this project include?


The project was created to fund the tooling and production of a polystyrene plastic model kit. The Eisenken Grav StuG.




We also offer 3d printable building terrain sets, modular, stackable and and loaded with details.


The icing on the cake... Two lucky backers will receive an extra free kit, painted by the extremely talented David Woods! Each StuG you back will provide an entry into the raffle!


Good luck to all of you! now lets get this Kickstarter across the finish line!


Amiga Para Siempre: FS-UAE Amiga Emulator Hits Version 3.0


FS-UAE is one of the newest Commodore Amiga emulators on the scene, and perhaps the only true multiplatform emulation project for the system still in development. It has had astounding progress since it was originally released in 2011, and last week it announced the release of version 3.0.

The changes in the newest release are many and varied, so feel free to check the full changelog available here. FS-UAE has garnered a very good reputation for being a quality emulator focusing on ease of use and multiplatform support. The developer also maintains the OpenRetro Database, where users can submit information and configuration files to help running the games easier.

The FS-UAE launcher tool

The Amiga is one of the home computers originally developed by Commodore back in the 1980s. During its heyday it was considered to be a revolutionary platform, notorious for its user friendliness and the quality of its sound chipset. Its game library, although found to be meager by some nowadays, has maintained a solid fanbase over the years. Games like The Secret of Monkey Island, Sensible Soccer, and Lemmings, were all originally developed on the Amiga, and many other titles for the platform have ever since attained cult status among gaming communities.

All the code for FS-UAE is, of course, Free Software, and its main repository can be found on Github here.

Code license: GPLv2


Post your comments on this thread.

segunda-feira, 16 de março de 2020

Beyond Two Souls Review (PC/Epic Store)

Written by Alexander O. Cuaycong and Anthony L. Cuaycong


Title: Beyond Two Souls
Developer: Quantic Dream
Publisher: Quantic Dream
Genre: Action, Narration
Price: $11.99
Also Available On: PS4



David Cage can stir a lot of mixed emotions. Some view the founder of Paris-based developer Quantic Dream as a fraud, pointing to his creations' lack of interesting gameplay. Others consider him a visionary, praising his genius in bringing theater-quality entertainment to gamers' homes. No matter the reactions he elicits, however, he is clearly passionate about his works; everything he does is very much a product of his own beliefs and designs. Which, perhaps, is the best way to describe Beyond Two Souls: It's very much the golden standard of what he presents and represents. Originally released as a PlayStation 3-exclusive title back in October of 2013, it found its way to the PS4 two years later, and now has a home on the PC through the Epic Store. At seven years old, how well does it hold up on brand-new hardware?




In Beyond Two Souls, gamers follow the story of Jodie, a girl who makes a connection to a mysterious spirit being by the name of Aiden. Her bond with it has granted her abilities that no normal human can posses. These, in turn, make her a target, and soon she finds herself a pawn of people who both fear her power and wish to exploit it for their own ends. The premise, while interesting, works mainly because of how good the title looks. During its launch, its graphics were already quite good; on the PC, they're absolutely stellar. It's hard to imagine that the game is half a decade old when it renders characters and scenes so vividly.




As real as the visuals may seem, however, the story is anything but. While the premise is great, Beyond Two Souls' overall narrative tone proves wanting at best, lacking any subtlety in its message. Jodie's predicament could have been explored any which way, but is instead presented sans any restraint; gamers are slammed over the head with theme after theme, allowing for little time to let any stew. Now and then, its story shows promise. After it lures you in with tales of intrigue and deception, however, its momentum falters, and its key moments tend to fall flat. Even during its most entertaining set pieces, its flaws tend to stick out. Action-filled segments try their hardest to get the blood pumping, but the payoffs don't come close to rewarding the build-ups.




At the same time, Beyond Two Souls relies on gameplay that is best described as the opposite of fun. Gamers get to do some QTEs, explore surrounding areas, watch a few cutscenes — and then rinse and repeat. The process isn't flawed in and of itself. Unfortunately, the controls — whether via the controller or via a keyboard-and-mouse combination — feel floaty and unresponsive. Which is just too bad given its potential, and which makes it hard to recommend to any but the most diehard of Cage fans. It set out to be a compelling tale of a woman struggling with her marvelous, dangerous powers. It wound up becoming a reminder that implementation, of relative lack thereof, can stunt even the best of intentions.



THE GOOD
  • Holds up well visually and aurally despite its age
  • Interesting in parts

THE BAD
  • Staid gameplay and exploration segments
  • Imprecise controls
  • Lacking in subtlety and restraint


RATING: 6.5/10

domingo, 15 de março de 2020

VC 1012, M.A.D.!

What, me worry? Not when I have M.A.D. from U.S.Games as this episode's game! Hoo boy. I hope you enjoy the episode. Next up is Robin Hood by Xonox. If you have any feedback for that game, please send it to me at 2600gamebygame@gmail.com by March 8th. Thanks so much for listening!

M.A.D. on Random Terrain
John Hall's website
Interview with John Hall by Sean Fitzgerald 
No Swear Gamer 426 - M.A.D.
No Swear Gamer M.A.D. gameplay footage
Get Matt's Repro Freeway patch on eBay

quinta-feira, 5 de março de 2020

Oceanhorn 2: Knights Of The Lost Realm To Be Part Of Apple Arcade In Fall 2019



Hi all, a quick recap of the last few days – Oceanhorn 2: Knights of the Lost Realm will be part of Apple Arcade, and is confirmed in Fall 2019 for iPhone, iPad, Apple TV, and Mac. You can read more about Apple Arcade here. We'll share additional updates as we go.

We'd also like to take this opportunity to show you our brand new teaser trailer. Enjoy!


MUPPETS INSIDE: THE MUPPET CD-ROM


"It's time to put the disc in. It's time to turn stuff on. It's time to meet the Muppets on the Muppet CD-ROM!" Jim Henson's Muppets are back in Muppets Inside: The Muppet CD-ROM, developed by Starwave Corporation and published by Jim Henson Interactive in 1996. It's a well-put-together collection of mini-games and classic clips that's impossible to do anything but cheer you up.
Read more »

The Ultimate Megadungeon


I feel like I fought long and hard for this review...

Battled my inner demons, smoked a peace-pipe with that old serpent until we were both baked into a fever-dream cake with black rainbow frosting, risked my stack by going all-in against a lavender mo-hawked skeever who I knew was bluffing, and so forth!

Endzeitgeist's Cha'alt review!

I knew it wouldn't be easy, that he'd make me pay dearly for every bit of laziness or self-indulgence, every decision carefully considered and weighed as if standing before an exotic gold idol with a pouch full of sand, every creative choice mercilessly judged.

And yet, I came out unscathed... relatively speaking.  I just re-read the damn thing and I'm exhausted.  I don't have the time, energy, or even the inclination to refute his claims, except to say that I really wanted an all-caps GONZO fun-house megadungeon.  If blasters and sleep spells were commonplace, then really weird stuff would have to be way over-the-top.

Also, for a 90 minute online game or 3-hour face-to-face one-shot of D&D, Crimson Dragon Slayer D20 is just about perfect.  It also plays better than it reads.  ;)

Those brave enough to see for themselves are welcome to play in one of my Roll20 games or on January 11th in Madison, WI.

VS

p.s. Yep, still pimping the Cha'alt: Fuchsia Malaise kickstarter - only 5 days left to go!

quarta-feira, 4 de março de 2020

The Storm Is Everywhere


Stewards is how I describe our relationship to the gaming subculture. The days of stores as taste makers are long behind us, although you can leverage and channel interest through events and demos. I felt this strongly selling role playing game during the holidays.

We certainly sold our share of gaming books, but with the slower, wiser, release cycle of 5E, there are a tremendous number of players who just don't need any books, most of the time. The sheer number of these new customers and the slow book release schedule meant dice and miniature sales have been stratospheric in the trade. You couldn't have enough of either in 2019. Customers have money and they want to spend it and it will be with you, or increasingly, elsewhere. This season I could feel the Etsyfication of the hobby.

There have always been low volume makers of stuff for gaming, but players are now tied into an omnichannel environment, where games are bought and played and talked about virtually everywhere. We are just one channel and perhaps not their primary. I know game trade buyers at distribution and they do their best to follow trends, but there are just too many makers and Kickstarter projects to keep up with and not enough budget to follow every line. 

We have customers that have gravitated away from our sales channel nearly entirely, as well as those who live and play the games we sell without knowing or caring we exist. It's not that they have better options (selection and price), like in the past, but they have different options. Their experiences and purchased products only have vague overlap. My store is full of customers three nights a week, and if I could just read their mind, tap into their other channels. 

I had holiday customers arrive with a list of titles with little resemblance to my reality, as if they were stringing random words together. There is not a strong understanding amongst casual consumers that these channels don't merge at the end point of brick and mortar retail. When that light bulb goes off, we'll find ourselves marginalized, if we haven't been already. Who wants to shop where they sell half of what you're interested in, when there's a source with 100%? If you have the budget and the knowledge, attempting to get in on the action of another channel is a wise move, although you'll never really tap the potential of the other channels. You don't need to be all channels but you don't want to be the worst channel. You don't need to outrun the bear, just outrun your buddy.

Breaking out of our channel requires budget, insight and being on trend. As I get older, I am often not on trend, such as my mystification as to why people watch hours of gaming when they can just do it. I understand why people watch professional sports, but gaming seems more accessible, especially when there's always hours of research and prep for a D&D game. I mentioned this on my personal page and have been educated, so you don't need to explain it to me. I get that there's evolved mastery of the game on display, rather than a scripted farce, which is what I see because I'm so very far from personal mastery of the game. I'm more in the Colvillian camp of slight deviations from the baseline.

The new D&D book, Explorer's Guide to Wildemount, is a web series tie in by Matt Mercer, of Critical Roll. Even Wizards of the Coast has no choice but to get on trend, to figure out what players want, and of course, they are omnichannel oriented, including deep discounting on Amazon. The grognards like me shake our fists, demanding a reboot of Planescape, much like how the grognard retailer in me shakes my first about those deep discount Amazon D&D sales. 

But Wizard's knows to follow the trends, to tie into the energy in the room, to play the channels. My employees weren't even alive when Planescape was published, which is true of most customers. Maybe ride the channel while the riding is good? Critical Role is right now, at the subcultural forefront, with 758K subscribers with dozens of videos with over a million views. 

These problems are opportunities, don't let me depress you. These are problems you want to have, the catching of raindrops in a thimble during a hurricane. The mass marketization of the game trade is really an omnichannel endeavor, as the mass market is mostly dead. Hobby game stores are closing in droves, as they're unable to catch enough water in their thimbles. The smart ones, the larger ones for the most part, are making larger thimbles, sometimes creating their own literal channels. We saw the clouds and knew the storm was coming, but we were wrong about its origin. The storm is everywhere. 




Press Release - Golden Serpent TCG To Launch On Kickstarter 1/21/2020

Golden Serpent TCG to Launch on Kickstarter 1/21/2020
A new, living card game with a dark fantasy occult theme
Golden Serpent is a new battle card game that will have players using characters, relics, and spells to attack their opponent's leaders to win the game. Players familiar with Magic: the Gathering and Hearthstone will be able to pick the game up quickly and also be excited by new takes on the genre. The game offers a depth of strategy while not getting overly complicated. Much of the gameplay can be understood after grasping the core cool down mechanic, but with a wealth of card interactions there's ample fun to be had by the seasoned strategist and newbie alike. Players will also appreciate getting the full set of cards (90 unique cards, 288 cards total) in one box for the reasonable price of $35 on Kickstarter.

Golden Serpent is the debut game by designer Ricky Mallory. A player of TCGs for 20 years, Ricky has designed dozens of games for his friends and family to play, and now he's bringing all the lessons he's learned from their design, and 2 years of development to his first published game, Golden Serpent.
Golden Serpent stands out among TCGs for its complete removal of resource cards or counters, instead using a delayed purchase mechanic (called the cool down mechanic) that allows players to play any card in their hand from the first turn. Players will need to use strategy and find synergistic card combos to manage the cool down times of their cards and abilities, which range from 0-3 turns, to gain an edge over their opponents and make sure they don't leave themselves open to attack.

Each player can use up to 3 leaders per game, each of which lends unique abilities throughout the game that are unlocked as players level them up. Players are also able to take characters prisoner and use them to summon powerful god and demon cards to help them win.

Visit the Golden Serpent website below to read the full rulebook.

Game Details
Game Contents

288 Cards Total (90 unique cards)
4 Copies each of 30 character cards (120 cards)
4 Copies each of 21 spell cards (84 cards)
4 Copies each of 15 relic cards (60 cards)
1 Copy each of 12 leader cards (12 cards)
1 Copy each of 12 immortal cards (12 cards)
1 Rule booklet
https://www.kickstarter.com/projects/goldenserpent/golden-serpent-an-occult-card-game-of-gods-and-demons
Contact: Ricky Mallory (goldenserpenttcg@gmail.com)


Did you like this Press Release?  Show your support: Support me on Patreon!Also, click the heart at Board Game Links , like GJJ Games on Facebook , or follow on Twitter .  And be sure to check out my games on  Tabletop Generation.


segunda-feira, 24 de fevereiro de 2020

Tech Book Face Off: Rails AntiPatterns Vs. The Rails 5 Way

It's been a while since I've cracked open a Ruby on Rails book, and there were still a couple of these books that I've been meaning to read. So far the Rails books I've read have been beginner's books and tutorials. With this latest pair of books, I wanted to go deeper into Rails and learn how to program fluently in the framework. The first book, Rails AntiPatterns: Best Practice Ruby on Rails Refactoring by Chad Pytel and Tammer Saleh, was published way back in 2010 when Rails 2.3 was cutting edge. I took a chance that the book would focus more on timeless advice than version-specific tips and tricks. The opposing book, The Rails 5 Way by Obie Fernandez, was published much more recently at the end of 2017 and should be at less risk of being out-of-date. Although, it looks like Rails 6 will be out soon. One thing's for sure: technology doesn't stand still, but that shouldn't matter too much if the books take that into account. Let's see how they fare.

Rails AntiPatterns front coverVS.The Rails 5 Way front cover

Rails AntiPatterns


Most programming books will tell you the right way to do things and give examples of how to implement that advice. This book takes a different tack and instead shows you what not to do, with examples of how to refactor those mistakes into clean Rails code. This change in approach is refreshing for the intermediate to advanced programmer because over time we develop certain habits as we try to discover how to do things in a language or a framework, and they're not always the best (or even very good) ways of doing those things. Having a book to help identify where our code has gone astray and how to fix it is a helpful tool indeed.

I was a bit worried about reading a book specifically about Rails that was written so many versions ago, being that Rails 2.3 was out at the time and we're now heading into Rails 6.0. I normally don't mind reading older books about programming in general, since those books have been filtered by time and tend to contain plenty of wisdom that has survived current fads. However, this is a book about a specific web framework, so if it is over eight years old, how could it possibly still be relevant? I needn't have worried. Most of the book focuses on general good programming practices within the context of the Rails environment. Such advice is still as valid in Rails 6.0 as it was in Rails 2.3, even if some of the implementation details have changed.

The structure of the book works well, with ten chapters each focusing on a different topic of the Rails framework. These topics range from the obvious models, views, and controllers on which the Rails architecture is based, to the related services, testing, and databases that are all a part of web application programming. Each topic covers a few antipatterns with descriptions of a common programming mistake and why it's wrong, followed by one or more solutions that fix up the antipattern into beautiful, DRY code. The obvious solutions—like that views should contain strictly display logic, controllers should be thin, and models should contain all of the business logic, but broken out into helpers and plain Ruby objects—are covered along with a number of less obvious antipatterns. Some of the more extended solutions are quite satisfying to follow as the refactorings morph an ugly hack into a pretty Rails implementation.

Throughout these refactored antipatterns the authors relate clear reasons for why things should be done a certain way and sound advice on how to choose between competing options. For example, when discussing whether or not to use scopes to create chainable filters on models, they say:
There are downsides to this approach, including problems with readability and simplicity, as well as abuse of the Law of Demeter. Whether you use this approach is a judgment call on your part. Will you use the added flexibility? Is it better than defining a handful of separate finders? Like many advanced refactorings, this one has no easy answer and depends greatly on your tastes.
I appreciate the honesty of this advice. In programming, as in most things in life, not all rules are hard and fast. Multiple good options can and do exist, and in these cases it comes down to a judgement call from the programmer, given the context of the specific situation. Experience and taste will develop into a programmer's style, and as long as they're not making a poor choice for the wrong reason, it's okay to prefer one viable option over another.

The authors aren't always so amenable to choice in correcting antipatterns. They do discourage attempts at divining the future, as in this example:
Developers new to the template pattern tend to want to err on the side of flexibility. This is a form of future-proofing, and it's a mistake—especially when working in a language as geared toward agile development and the refactoring cycle as Ruby.
It's almost always better to spend time fixing real problems in the here and now instead of trying to predict and head off future problems that may never happen.

The whole book was full of insights like these, and it was all packaged in easy-to-read prose and concise, relevant examples of how not to write Rails code, followed by how to fix it. I found it to be a quite enjoyable way to learn better Rails programming practices, and it reminded me of an old chess book that had followed a similar format: How Not to Play Chess. Seeing the mistakes that can be made and their consequences clearly laid out can prove quite helpful in identifying our own mistakes and seeing the path to correcting them. This teaching method was expertly executed in Rails AntiPatterns, and I highly recommend giving it a read if you do any programming in Rails.

The Rails 5 Way


This was definitely the longest book on a programming language or framework that I've read in a while. Weighing in at over a thousand pages, it definitely achieves tome status, and strives to be a comprehensive map of the Rails 5 framework. The forwards and introduction recommend reading it straight through at least once to get the lay of the land and see everything that's available in Rails before using it as a reference.

I would agree that knowing what tools are available in any given language or framework is half the battle when attempting to develop solutions as efficiently as possible. If you know that something you want to do is possible and you know where to look to research how to do it, then you're already ahead of the game in reaching an optimal solution. However, I was not going to read all the way through this book, considering the last third of it is a pure reference listing of the Active Model and Active Support APIs. That's skim-worthy material at best.

At least another third of the non-appendix part of the book is also reference listings of various APIs in the Rails framework. The trouble with this reference material is that it is interspersed with actual guidance on how to use the different parts of Rails. That makes it much harder to skim through the boring, tedious method descriptions without missing tidbits of more useful information, so most of the book was kind of a slog.

Obie Fernandez took a slightly unconventional approach to covering Rails, and instead of starting with Active Record, he started at a high level by covering the Rails configuration and environments, then followed the flow of a request by going into routes, REST, resources, and controllers before getting to Active Record. After five chapters of the various aspects of Active Record, he continued with Action View, helpers, and Haml, followed up by an assortment of short chapters on session management, security, Action Mailer, caching, background processing, Ajax, Turbolinks, Action Cable, and testing with RSpec. Whew. Like I said, comprehensive, and even if some things couldn't be included in depth, they were at least mentioned so that the reader could be aware of them and do more research on their own.

Some chapters were quite useful and informative, like the main chapters on the MVC architecture of Rails. These chapters contained a fair amount of good advice and recommendations that can save developers a lot of trouble, such as:
Rails' schema definition provides the authoritative record of truth for the latest version of your database schema. If you need to recreate your database on another server, you should be using db:schema:load, not running all the migrations from scratch.
Anyone who's tried to run a long chain of migrations while setting up an application on a new machine can attest to the futile debugging situation you end up in when one of the migrations inevitably fails halfway through. Using the schema is definitely the way to go. I also found the chapters on security, caching, and Turbolinks to be quite helpful, and I learned a bunch of great things that will help me build better Rails applications.

On the other hand, there were large swaths of the book that were pure drudgery. Most of the helpers chapter was like this with page after page of very similar method descriptions:
11.3.1 asset_path(source, options = {})
Computes the path to asset in public directory. If :type options is set, a file extension will be appended and scoped to the corresponding public directory. All other asset *_path helpers delegate through this method.

<...code example...>

11.3.2 asset_url(source, options = {})
Computes the full URL to an asset in the public directory. This will use asset_path internally, so they behave the same way. If the :host option is set, it overrides the global config.action_controller.asset_host setting normally set in config/environments/production.rb.

asset_url "application.js", host: "http://cdn.example.com" # => http://cdn.example.com/assets/application.js

Also aliased as url_to_asset.
Ugh. This kind of stuff is much easier to search for in the online Rails documentation when you need to look it up, not by paging through a giant book. I was also surprised at how much of these method descriptions ended with comments about how useless they were. Maybe 20% of the methods would have a description of what they did with a code example, and then Fernandez would end it with saying he had never found a use for this method or you would never want to do things this way because some other method was much better. That got more than a little frustrating as the book dragged on.

It may sound a bit strange to criticize this book for including ways not to do things in Rails, having just praised a book whose entire structure was showing how not to do things and then showing the right way, but this is different. In Rails AntiPatterns, the author was showing common mistakes when programming in Rails and how to fix those mistakes by using Rails the right way. My complaint with The Rails 5 Way is that time is spent describing irrelevant methods that may have been included in the framework for completeness or for a specific, uncommon use case, but are hardly ever used in practice. When those things are included in a book whose title asserts that this is how things should be done, it muddies the waters.

Between the appendices, the long lists of method descriptions, and the inclusion of dozens of methods that are rarely used, this book is probably three to four times longer than it needs to be, all for the sake of being comprehensive. It was light enough on actual recommendations for how to use Rails, focusing more on every single thing that's available, that a more appropriate title would simple be The Rails 5 Documentation.


I much prefer reading programming books that directly address the 'how' and 'why' of programming, like these books I previously reviewed on how to use Rails. The Ruby on Rails Tutorial is especially good and the latest version is also up-to-date with Rails 5.  Even Rails AntiPatterns is still relevant nearly a decade later because it addresses the fundamentals of developing in Rails. I would rather leave the 'what' of programming to the online documentation where it is easily searchable and stays updated to the latest version of the tools. In that respect The Rails 5 Way falls flat. It would have been a much more compelling book if it had stripped out all of the drab documentation and focused on showing the right way to program in Rails and explaining why that was the best way to do it. As it is, reading through Rails AntiPatterns and referring to the online documentation is the more productive path.

domingo, 23 de fevereiro de 2020

One Day, They'll Come For You, As Well


Greetings, comrades of Inclusive Intersectional Compassion.

Let us begin with a resistance-prayer: The State is our community... where we all meet, where we all matter.  Social Justice for all!

My name is of no importance.  Obviously, my race, sexual preferences, and gender identity are incredibly important; however, the people of 2020 cannot be trusted with such vital information.  #GET_WOKE_OR_DIE_BROKE, as we say.  Irregardless, I have a message from 5 years in the future.  I'm a time traveler from 2025, and wanted to give you a snap-shot of the world.

Congratulations are in order, for our efforts have paid off.  Individuality is a sin before Secular Leftism.  Whatever your system of beliefs, it must conform to the Collective Will of the Masses or be purged... just as all discriminatory personal property and wealth has been sacrificed upon the altar of Secular Leftism.

Those who've already confessed their sins may continue to live, as long as they are useful to The State.  Everyone who has not yet sought forgiveness for past and present sins, as well as future transgressions, have forfeit their contaminated existence.  Daily Purity Tests are Mandatory!  Proceed to one of the conveniently located self-immolation booths.

For those who seem shocked by this inevitable progression, don't be.  As our Collectivist Leaders teach us, terrible beliefs are held by terrible people, but they can be made useful in State Sponsored Work Camps.  Please, do not humanize the enemies of The State, unless you want to join them in the gulag.

The nazis held terrible beliefs.  Therefore, everyone with terrible beliefs are considered nazis and deemed undeserving of consideration, rights, or even the burden of life.  After all, are we not all victims in the eyes of Secular LeftismPraise be to The State!  Since everyone who disagrees with us is nazi scum, there is only agreement, only conformity.  The State is an unbreakable monolith - omniscient, omnipotent, and omnibenevolent.

Furthermore, the terrorist propaganda of christianity, judaism, satanism, cthulhuism, not-religious-but-spiritual-ism, libertarianism, individualism, capitalism, conservatism, moderation, freedom, jokes, memes, and common sense is no longer allowed in public or private spaces.  The State, in its infinite wisdom, has declared these problematic ideologies of racism, sexism, homophobia, and transphobia to be violent attacks upon Our Great Uniformity.

Only total submission to The State is tolerated.  Anything that does not conform must be condemned and destroyed in the People's Square of Mutual Grievances!  Failure to pledge public support for Our Shared Values is the equivalent of terrorism, nazism, and white supremacy.

Those of your flawed era still cling to the idea that The State is not god, but in 2025 we know better than you.  The State is the only rational substitute for him, in all his toxic patriarchy.  In fact, society cannot progress without his destruction.  Praise be to The State!

Your comrade of inclusive intersectionality,

A-non

p.s. Bonus!  In 2025, we have 100% free Universal Health Care and College.  Unfortunately, you're not eligible if you have any demerits.  Demerits are earned by saying something offensive, exhibiting problematic behavior, having wrong ideas, or expressions of individuality.

quinta-feira, 20 de fevereiro de 2020

Download BOS Wars 2.7 RTS For Windows


Bos Wars is still a nice fast-paced and somewhat lightweight RTS for you to enjoy, even though the sound mixing is still brutal but getting your hands on the latest Version for Windows is not as straightforward, as it was in 2010.

Thankfully, you can get a working version for Windows from Portableapps.

The cool 3D pixel soldier in the thumbnail above is from OpenGameArt by the way. Still kicking, old design and all.

People Of Frictional: Alex Camilleri

WHO AM I


Hi, my name is Alex and I am one of those people on this planet who make games for a living. I joined Frictional Games almost a year ago as a gameplay programmer & designer, and I am currently working on [REDACTED].



Despite my warm Sicilian blood, I ended up living in this beautiful yet terribly cold place called Sweden, where I obviously work from.

BACKGROUND


I got exposed to videogames as a kid, watching my dad playing Lucas adventures (that Indiana Jones and the Fate of Atlantis intro sequence will forever be impressed in my memory) and – like most people these days – I just spent a lot of my free time playing games.

I remember that when I was really really young I would draw labyrinths on paper and let my best friend play them as I was adding moving traps and enemies on the go. It was a complete nonsense but I think it's the earliest somewhat-interactive thing I've ever made. It was pretty fun.

During my teenage years it was really clear to me that I wanted to work with games, so I started doing game journalism and with two friends of mine I would spend nights playing games but also making terrible prototypes, studying some programming in our spare time. My first playable game was obviously an extremely generic shoot-em-up with horrible graphics and some keygen music slapped on top.

Figure 1: On the left: me eating while being bored to death with my new programming book. On the right: me probably being overly excited about making something shoot a bullet into something else. I'm also wearing swimming trunks for some reason.


I eventually decided to move to the Netherlands to study and get my bachelor's degree in Game Design and Production. Living there was a great fun and allowed me to be part of an active gamedev community. I went to gamedev events, met many developers, expanded my network and opened my one-man-company called Kalopsia (hi Josh Homme!). I also joined a lot of game jams, one of which landed me an internship at Guerrilla Cambridge doing some level design on RIGS: Mechanized Combat League for PSVR (at the time the Morpheus prototype was just a bunch of lenses and cables put together with tape).

I ultimately started my own small but very personal project called Memoir En Code: Reissue, which I eventually released on Steam/Humble/GOG (totally not a plug). I worked solo on that project for quite some time, and after the release I felt the need to change gears and work in a team again. A friend of mine told me there was an opening at Frictional Games, and how could I not apply to the company that made SOMA?

Fun fact: after I submitted the work test I travelled to San Francisco for GDC17, and Thomas and Fredrik were there as well. We did not meet in person though, and I ended up spending most of the conference thinking about the test; it was actually a bit stressful and distracting! I found a partner for a new solo project that I was planning to make in case stuff didn't work out, but I got a positive response from Frictional and I obviously agreed to join the team.

I'm not crazy after all.

WHAT I DO


During the first weeks at Frictional I spent my time learning the tools and the overall work pipeline. This resulted in me creating a short psychedelic game where you put out fires by peeing on them, while Slayer music plays in the background. It's probably the best thing I have made to this date.

At the beginning there was a lot of stuff to learn and take in. But to be honest that was the entire point why I pushed myself into a new environment; you can't really become a better developer if you don't expose yourself to new stuff.

After I was done with the intro tasks I quickly jumped into production, working with Aaron (we are officially called the A-Team). He works from the UK, but we have a very clear line of communication; we are fairly independent, but we are always in sync, which is working out very well for us.

I spend most of my days scripting events, moving a door 0.25 units to the left to improve visibility and making that sound play with 0.5s delay because it just feels a bit better. The rest of the day is spent drinking tea with my desk-buddy Max and mostly hoping that nothing breaks. I have also spent some time making small changes to the debug tools we use, just to make the pipeline a bit smoother or a bit more comfortable. I juggle between working from the office and from home, depending on the amount of isolation my brain needs. Being able to do that is a big privilege that has a very positive creative impact on me.

Figure 2: my workstation at home. I have the same desk at the office and the same type of chaos ruling over it.


STUFF THAT I LIKE


Since designing games is a complete dream-job, I try to keep myself busy by doing other creative things on the side. I spend quite some time doing photography, which I enjoy quite a lot. When I travel I always bring my a7ii with me, practicing and slowly improving over time. Aside from that, I also very much enjoy making music. Some months ago I got a Teenage Engineering OP-1 which I am having tons of fun with, and I am now playing a bit of ukulele.

I guess I won't be happy if I don't mention my biggest love. I have a deep (and almost unhealthy) love for anything Kojima makes. Over the years my love for his games went a bit overboard (I am the person behind the Metal Gear Timeline which you should totally check out if you are new to the saga) and now I ended up with a corner of my apartment being completely dedicated to his work. I keep adding stuff to the cabinet and now I probably need a new one after I got some new loot from my recent trip to Hong Kong. I fill my existential void with Metal Gear stuff, I need a doctor.

Oh, and you can find me on Twitter as @AlexKalopsia!

Figure 3: My babies.

Wanna see who else works at Frictional? Check out the rest of the People of Frictional posts!

Another One Bites The Dust

What's going on everyone!?


Today for the #2019gameaday challenge I played a solo game of Ticket to Ride and yet again lost, lol!

I've also been a bit busy with a huge life goal of ours so please excuse the short post as I'm honestly drained from a long day. 


As always, thank you for reading and don't forget to stop and smell the meeples! :)

-Tim

quarta-feira, 19 de fevereiro de 2020

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