Thought I would note down my trials and tribulations, trouble and strife with my clan of freestylers. I have Josh; 15, Ellie; 12 and Francis; 8 who all love the sport. Chesc is the eldest and Zac is the youngest and my lovely wife who is called Catherine will occasionally pop into my blog.
Rather than email various grandparents, godparents, friends and the like I will TRY to put it on here and its your call if you want to read it.
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They say that every generation has a magazine that defines them: Mad, Fangoria, Playboy, National Lampoon, Rolling Stone, Nintendo Power. At the time, such magazines were just another exciting and informative distraction to look forward to, but looking back, you realize how much they shaped the thoughts and dreams of your youth. For me, whose fondest memories were defined by Dragon Ball after school, Yu-Gi-Oh duels on the weekends, and sneaking Bleach manga in-between classes, that magazine was Shonen Jump.
Now, just to clarify, when I say, Shonen Jump, I don't speak of the original Japanese weekly that's been in publication since 1968, but of the monthly American adaptation that launched in 2002 and ended in 2012. For many kids born in the early 90's our gateway into the world of anime was through the Saturday morning cartoon line-up: Pokemon, Digimon, and a little later, Yu-Gi-Oh, as well the evenings on Cartoon Network with Dragon Ball Z, Yu Yu Hakusho, and Rurouni Kenshin. Out of all of these stories, only Yu-Gi-Oh kept a sustained hold on me, due to my interest in the trading card game, and many exclusive rare cards were included with Jump magazine. My very first copy of Jump included the Trap Card "Embodiment of Aphosis", which was later stolen, but I at least still had the magazine to read, and what a magazine it was.
Initially, my brothers and I only begged our parents to buy Jump to get the next rare card. We were like aficionados of Playboy who saw only the centerfold, but once the shock of a naked woman fades, you start to read the articles. I naturally only read the Yu-Gi-Oh manga, which told a more uncut story than the sanitized version we got from 4Kids, but from there, I began to read some of the other manga that also had appearances on 4Kids, like One Piece and Shaman King. Then when Naruto and Bleach went on Cartoon Network, I found myself searching past Jump issues for any missed chapters. I read so much Jump in those days, that nearly all of my early manga purchases were based on what I read inthe magazine. I even pushed myself to read stranger manga like D-Gray Man, Black Cat, Gin-Tama, and Claymore, based on their Jump debut specials. Not to mention Death Note, which while being very dark for my age, was still extremely popular for debates around the middle school playground.
While Jump did a rather short run in print, I think that the impact it had on the otaku community is not to be understated. Drawing them in with trading cards and the hottest anime, Jump introduced a new generation of otaku to manga, one of Japan's highest literary arts. Manga translations, of course, existed before Jump's launch, but they could be a hard sell, especially to young people. They were black and white, not splashing with color like American comics, and had to be read from right-to-left, as opposed to left-to-right. Of course, the strength of a manga belongs to the artist alone, but Jump was a cheap way for curious readers to take a dip into the pool. This popularity was also helped by the fact that the magazine printed one of the most accessible genres in manga, one which had palpable parallels to the superhero comics of Marvel and DC. Jump came right at the perfect time, when young otaku were starting to grow out of Pokemon and Digimon, and in need of stories more mature and action-packed. The time was ripe for shonen's "The Big Three": Naruto, One Piece, and Bleach, to take command of the anime scene, which in turn reverberated to sales of their respective manga. Millions of volumes were sold. Jump was the lifeline that kept many of us in the world of anime and manga through our adolescence, and our springboard into more diverse and challenging stories.
Of course, every thick issue of Jump didn't thrive on manga alone. The front covers were always exciting and colorful, commonly with an image of Goku, Yugi, or Naruto. The introductory and ending color pages had the latest news on upcoming manga, anime, and merchandise. There were exclusive interviews with creators and fans, and a small Japanese vocabulary lesson each issue. There were also useful tips and strategies included with each rare card, and articles exploring the themes of particular manga, my favorite was their commemorative issue on Dragon Ball. Yet with the rise of online manga translations, it only seemed inevitable that Jump, like so many other magazines, would also have to go digital. This was probably their smartest decision business-wise, but it's also a sad thing. There was something about the freshly printed paper, flipping through the new manga, and claiming that shiny new card which doesn't quite translate in today's digital world. It was an exciting ride, however brief, and I never forgot one thing: that true ninja, true soul reapers, true pirates, true duelists, true spirit detectives, true shamans, true rurouni, and true super saiyans always read manga from right to left.
In an early version of Codex Bash, one of the puzzles - the one involving paper circuit diagrams - was different.
Recent players will have rummaged through laminated sheets strewn around the room and, I hope, will have tripped over a few before they got to the puzzle where they had to use them. But in the first version of the puzzle these circuit diagrams were all in the one booklet, pictured below. Hardly anyone could solve the puzzle without being told what to do.
I changed the user interface over and over. At one the point where the screen would show a picture of the schematics booklet, and the booklet itself would be in clear view right next to the screen. Yet players would still stare at the screen for ages trying to make sense of it. They would look directly at the booklet and stare back at the screen again, without laying a finger on the booklet itself.
I needed to work out what was going on.
Did they think the solution had to be entirely visible on the screen? Did they think the booklet was simply left behind by the tech crew and not meant for them? Whatever the reason, the booklet simply didn't exist in their mental model of the game. So interacting with the physical object never even crossed their mind.
As I've often said, the joy of Codex Bash is all the little "eureka" moments in each bite-sized puzzle. The realisation that physical objects in the play-space were actually part of the game itself is one of these mental leaps. Before they can make this particular leap, players need to be aware that there even are physical objects of unknown purpose around them.
The first part of the solution was to tear the pages out of the booklet and spread them around the room: next to the buttons so it was obvious that players would see them by accident. The second part was to laminate them, so they were clearly not flyers or pieces of litter. This also made them beer-proof.
This got me thinking about the difference between what we see and what we perceive. Is not perceiving an object in the game world congruent to it not existing at all? Is our awareness of an object being in a game dependent on whether or not we think it serves a purpose?
Object Permanence and the Magic Circle
Object permanence refers to the idea that even if we cannot see something we are aware of its continued existence in our world. It is a learned concept, which we acquire as infants.
When you play "peekaboo" with a baby it is surprised at the shocking reveal that, yes, you were hiding behind your hands all along. When a baby cannot see you you do not exist in its reality. It has not learned object permanence.
Indeed, scientists often talk about how much of our perception is based on our minds filling in the gaps. It's why optical illusions work. So if what we perceive in the real world is based on what we assume to be there, is what we see as part of the game world based on what we assume to be part of the game?
In game design we often talk about the magic circle. When we play a game together we suspend our notions of normal behaviour. As players we silently agree to a new reality. Within the magic circle it's okay to be silly, to make physical contact, or to lie, depending on the premise of the game.
Within the magic circle, we have a concept of what exists in realities inside and outside the game. Hunger, passers-by and trip hazards exist outside the game but continue to be relevant to us. No matter how engrossing the game, these objects remain permanent in our mind because they are important.
In a typical screen-based game - Super Mario Bros, for example - question mark boxes and goombas belong in the game world. Similarly our thumbs and the buttons on our controller are part of the game world, as they are essential to the game functioning. My belief is that our mental model of the game world is based on what has function within the game.
In the X-Men game on the Sega Mega Drive, one level required players to use the "reset" button on the console to move to the next level. It's an idea that sounds surprising and fascinating, but for so many players it was game-breakingly frustrating. The reset button is used for the mechanical functioning of the console - turning it on and off - and so in our mental model of the game it does not exist. Because of its function it is part of the real world.
All players are aware that the reset button exists. We can probably see it right in front of us. But if its function belongs in the real world, why would we ever think to press it to do something in the game world? With no perceived function within the game, it simply does not exist in our mental model.
When players were unaware that the booklet was part of Codex Bash they largely acted like it didn't even exist. Even when they looked directly at it, opening it did not cross their minds. And, as far as they were concerned it didn't exist. Stepping into the magic circle, it appeared to serve no purpose. It did not belong to the set of things involved with solving a video game.
The booklet existed in a reality, a reality that they could see, but not in a reality they actually cared about.
Virtual Realities
I was in Abu Dhabi recently for an A MAZE popup, and was speaking to its director, Thorsten S. Wiedemann, about VR. In January Thorsten spent 48 hours in an HTC Vive, and his experience was filmed for a documentary.
We chatted about the future of VR and his experience, and I asked him what his favourite VR experience was. He told me it was the chat rooms. Despite being filled with identikit human models sliding around a bland space unrealistically, he was connecting with other human beings sharing his experience. That social contact made it more real.
I believe that in more standard games, more akin to quick-fix experiences, the illusion of reality was fleeting. Social contact gave that reality a reason to matter.
My own experience with VR is limited, but I've personally found the sensory deprivation - brought on by the headset and earphones - to be incredibly powerful. I can always tell I have a screen very close to my face, regardless of how high-resolution that screen may be. I know that the polygonal ground is not real, that 2D particles are flying in front of my face, and that the virtual arms in front of me only vaguely line up with my own. But this isn't important.
When I have no engagement with any other stimulus, the virtual world in front of my eyes may as well be the only world there is.
This was clearly the case when playing Lucid Trips at the A MAZE festival earlier this year. I knew there was a crowd of people watching me, but I did not care how stupid I looked, jumping up and down and flailing my arms wildly. My attention was entirely on one goal: I wanted to fly.
I was fully aware there was a whole physical world going on around me. But my emotional desire to feel the sensation of flight won out. Additionally, to perceive the physical world outside, one that I could neither see nor hear, required extra effort. The real world lived on in object permanence, but I simply did not care about it as much. Flying was my purpose. The virtual world could create the sensation of flight.
It was purpose that people could not see in the Codex Bash booklet, or in the X-Men reset button. It was purpose that made me - rather than lose awareness of the real world around me - simply care about the virtual world much much more.
Purpose Makes the Reality
I propose that our perception of the world around us is not based on what's actually there, but instead on what matters to us - be it on an emotional or practical level. It's important to understand this when designing all user interfaces, not just in VR and physical games. It is important in any project where we want to create immersion, be it in a world or a task.
To convince me I am inside another world I do not need to be convinced that it is real. I need to be convinced that I should care. Perhaps I care because I get to prove something to myself and the people around me. Perhaps I care because the story and setting help me reflect upon similar situations my own life. Perhaps I care because I am isolated from the world of worries outside the game.
To find out why they will care we need to be aware of what's going on in our player's mind. What do they know? What do they want? What will they infer based on prior experience?
Once we can answer these questions we can build a picture of what our reality looks like in our players' minds, and perhaps we can reach them on a deeper level.
Cities: Skylines is a modern take on the classic city simulation. The game introduces new game play elements to realize the thrill and hardships of creating and maintaining a real city whilst expanding on some well-established tropes of the city building experience.
From the makers of the Cities in Motion franchise, the game boasts a fully realized transport system. It also includes the ability to mod the game to suit your play style as a fine counter balance to the layered and challenging simulation. You're only limited by your imagination, so take control and reach for the sky!
Main features:
Multi-tiered and challenging simulation: Constructing your city from the ground up is easy to learn, but hard to master. Playing as the mayor of your city you'll be faced with balancing essential requirements such as education, water electricity, police, fire fighting, healthcare and much more along with your citys real economy system. Citizens within your city react fluidly, with gravitas and with an air of authenticity to a multitude of game play scenarios.
Extensive local traffic simulation: Colossal Orders extensive experience developing the Cities in Motion series is fully utilized in a fully fleshed out and well-crafted transport systems.
Districts and Policies: Be more than just an administrator from city hall. Designating parts of your city as a district results in the application of policies which results in you rising to the status of Mayor for your own city.
Extensive modding support: Build or improve on existing maps and structures. You can then import them into the game, share them as well as download the creations of other city builders on the Steam workshop.
System Requirements
MINIMUM:
Graphics: nVIDIA GeForce GTX 260, 512 MB or ATI Radeon HD 5670, 512 MB (Does not support Intel Integrated Graphics Cards)
At Google I/O in May, we introduced new tools that help people better understand their tech usage, focus on what matters most and disconnect when needed. Starting today, you can find all of the YouTube tools in one place, alongside your personal time watched profile. Our goal is to provide a better understanding of time spent on YouTube, so you can make informed decisions about how you want YouTube to best fit into your life.
Here are a few tips and tricks to get you started toward building your own sense of digital wellbeing:
Know how much you actually watch (new!): To give you a better understanding of how much you watch, we've built a profile that's available in your account menu rolling out starting today. This profile tells you how long you've watched YouTube videos today, yesterday and over the past 7 days.
Remind yourself to take a break: Once you know how much time you're spending in the app, you may want to set a limit. It's easy to lose track of time when you're having fun, which is why we'll help you set up a reminder to take a break. Just head over to your settings and pick the amount of YouTube time that's right for you. Once you've hit that limit, a friendly reminder will pop up on your screen.
Keep it to one notification a day: If you want more control over when you receive notifications from YouTube, you can bundle all of your YouTube push notifications into a single notification each day and set a specific time to receive your digest. Just go to your settings to choose when you'd like to receive your digest, and from then on you'll only receive one notification per day.
Disable notification sounds and vibrations: Resisting the urge to check your phone when it buzzes is really difficult, and this can make it hard to fall asleep. So we've recently made a change to send all notifications without sound and vibration between 10pm and 8am. You can enable sounds and vibrations, or customize the start and end time in your settings.
We're dedicated to making sure that you have the information you need to better understand how you use YouTube and develop your own sense of digital wellbeing. We hope these tips are a good start.
Coupis a new indie card game for 2-6 players. It enjoyed a successful Kickstarter and was the darling of PAX 2016.
I describe it to hardcore board gamers as "Citadels meets Love Letterand played in five minutes", to casual gamers as "this is what poker would be, if it was fun," and to poker players as "a bluffing board game you'll love."
Coup plays in rounds of about ten minutes, fits in a large pocket, and costs only $10. The artwork is beautiful and depicts diverse characters. There's a throwaway dystopian cyberpunk theme.
You can learn to play the game five minutes. After about half an hour will have the basic strategies down. It takes a few weeks to exhaust most play situations, and it plays a little differently with different numbers of players (six is best).
I usually ease players into Coup by first playing Love Letter, often with our house rules.
Our house rules make the game work well with as few as three players and introduce some new strategies without adding to the learning curve.
The Inquisitor from Reformation. I wish this art had been paired with better rules!
There are also two official expansions--Reformation, and the standalone Rebellion(which includes Reformation and the base game as well as new cards). We prefer our modification to the official expansions. We think the official changes add too much complexity while undoing some of the core mechanics that made the original so much fun. Reformation also is plagued by card back printing that doesn't match the original game. So, if you think you'll want an expansion, then you should probably just buy Rebellion outright to avoid this mismatch problem.
Coup is the second game by "Indie Boards and Cards," and is also set in their same "Dystopian" universe from their original game, The Resistance. The universe is irrelevant and The Resistance is interesting, but not as good as Coup.
Card Sleeves
As with Love Letter, there is a small deck in Coup and the cards are handled a lot. You run the risk of your deck quickly becoming marked by fingerprints and dinged edges. For a game in which you hold the same two cards the entire time and there are only five types of cards, marking breaks gameplay badly.
Unfortunately, the 65mm x 100mm Coup cards are the wrong size for high-quality card sleeves made for Magic: The Gathering. They are the same size as 7 Wonders cards, however. This means that you can use the Mayday sleeves, which are inexpensive. They don't feel great and don't have opaque backs (exacerbating the Reformation printing problems), but are better than risking marked cards.
We're working on a custom version of Coup laser-etched into thin plastic. If this comes out well then I'll post laser-cutter/engraver templates for them.
Base Rules
In the base rules, each player begins the game with a hand of two cards and two ISK (money). Each player takes one action on their turn:
"Play: Starting with the player to the left of the dealer and going clockwise, players take turns performing one of the available actions:
Income: Take one coin from the bank. This cannot be Challenged or Blocked.
Foreign Aid: Take two coins from the bank. This cannot be Challenged but it can be Blocked by the Duke.
Coup: Costs seven coins. Cause a player to give up an Influence card. Cannot be Challenged or Blocked. If you start your turn with 10+ coins, you must take this action.
Taxes (the Duke): Take three coins from the bank. Can be Challenged.
Assassinate (the Assassin): Costs three coins. Force one player to give up an Influence card of their choice. Can be Challenged. Can be Blocked by the Contessa.
Steal (the Captain): Take two coins from another player. Can be Challenged. Can be Blocked by another Captain or an Ambassador.
Swap Influence (the Ambassador): Draw two Influence cards from the deck, look at them and mix them with your current Influence card(s). Place two cards back in the deck and shuffle the deck. Can be Challenged. Cannot be Blocked.
Blocking: If another player takes an action that can be Blocked, any other player may Block it by claiming to have the proper character on one of their Influence cards. The acting player cannot perform the action and takes no other action this turn. The acting player MAY choose to Challenge the Blocking player. If they win the Challenge, the action goes through as normal.
Challenge: When the acting player declares their action, any other player may Challenge their right to take the action. They are saying "I don't believe you have the proper character to do that." The acting player now must prove they have the power to take the action or lose the Challenge. If they have the right character, they reveal it and place the revealed card back in the deck. They then shuffle the deck and draw a new card. The Challenging player has lost the Challenge. If they do NOT have the proper character, they lose the Challenge.
Losing a Challenge: Any player who loses a Challenge must turn one of their Influence cards face up for all to see. If that is their last Influence card, they are out of the game.
Losing Influence: Any time a player loses an Influence card, THEY choose which of their cards to reveal."
Official clarifications to the printed rules:
If you claim to have an Assassin, are challenged, and lose the challenge (because you don't reveal an Assassin), then you do not have to pay 3 ISK.
If a challenge against you fails, then you complete the action after replacing your card (even though you likely will not have the card anymore).
If an Assassination is Challenged and there really was an Assassin, then the target may still claim to have a Contessa after the Challenge is resolved.
Strategic Advice
As in most bluffing games, don't bluff too often, and only bluff at critical plays if you are desperate. I almost always claim to have a Duke on the first round...and almost never bluff on my final attacks.
Time and information are the key commodities in Coup. It is often worth suffering an early setback or intentionally playing poorly to avoid revealing information about your hand. For example, you might start with a Captain but claim that it is an Ambassador to fool others into challenging you later.
Plan two attacks forward. You are extremely vulnerable after performing a Coup because you will have no ISK for your next attack (unless you loaded up to 10 and plan to follow with an Assassination...)
It often feels like you have a hand at the end game from which you cannot possibly win. For example, the other player has more ISK than you and you are holding only a Contessa. In these cases, it is true that you cannot win by playing your hand directly. However, the key is to recognize early in the game when this situation is going to arise, and start bluffing that you have the cards you would like to have in the end game. It is almost always your own fault if you are stuck in the end game, especially using our house rules.
The Ambassador doesn't just let you switch cards. It also allows you to look at the deck. After playing it a few times, you have a very good idea what cards are in the deck, and thus a large advantage for challenging and for bluffing. Remember: information is a commodity.
House Rules
Motivation
The Brazil Edition. There are a lot of different artwork versions of Coup due to its Kickstarter launch. I prefer the sci-fi theme from the version linked above.
Coup is best with five or six players, played in several rounds. It is often hard to find six people, so our house rules are designed to help the bluffing and feints scale down to as few as three players.
In a pinch, you can play with two players using our modifications, or the base game's special rules for two players.
Our modifications are designed to prevent players from ganging up to take out one player early in the game. Ganging up is a fine strategy, but not very fun if it happens to you every round because the others think that you are the strongest and should be taken out first.
These modifications also provide the extra information that is available in a game with more players. The changes accomplish this by delaying the first attacks, providing extra information in the early game, and reducing the deck size.
Base Coup has a few degenerate situations. For example, if you don't defend against a Captain on his first Steal attack, you're going to be the victim of stealing on every subsequent round. Likewise, if you don't challenge a Contessa, that player will end up being Assasination-proof for most of the game. We encourage challenging as a strategy for eliminating a card that is creating a degenerate strategy by reducing the penalty for losing a challenge and adding a small reward for instigating a challenge. This is similar to the role of the Inquisitor in the expansion pack, however we feel that our version better maintains balance.
The modifications also compensate for some hands that are hard to recover from in a small game when down to one card by granting extra powers to the cards that are weak in that situation. Even if you might not have the right power in a bad situation...but the point of Coup is that the other players won't know that you don't have the power, and often a threat is as good as the right hand in this game.
Modifications
1. An Ambassador can reduce the Captain's stealing to 1 ISK, but not block it entirely.
2. The first player starts with 0 ISK. The others start with 1 ISK.
3. On challenging, the challenger immediately receives 1 ISK before the challenge is resolved (regardless of whether the challenge succeeds.)
4. Whomever loses the challenge may pay 5 ISK to the bank instead of losing a card. This player must have at least 5 ISK at the time to exercise this option. The payment occurs before the action, so a Captain may end up not being able to steal if the target loses a challenge and thus their money in the process.
5. Modify the cards as follows to add powers. We slip a note into the face side of the card sleeve. You can also permanently mark the face of the card, since that doesn't affect your ability to still play with the base rules if you later change your mind about using these rules.
One Ambassador: Inheritance. Gain 4 ISK when this card is Killed.
One Assassin: Vengeance. Automatically execute a free Assassination (against anyone) when killed by a Coup (which can cause a tie if it ends the game). That assassination can itself be blocked by a Contessa.
One Contessa: Treaty. Can override a Duke's block of Foreign Aid (against anyone). This can be challenged, as with any card. Note that you don't have declare that you're using the Treaty until a Duke tries to block you.
The other two copies of each of those cards are unmodified. In all of these rules, "kill" means in a coup or assassination. A card lost in a challenge is a "death" but not a "kill."
6. A special mat is marked with five events. The first player is responsible for executing these rules:
Flip before 1st turn. A card is dealt face down on this at the start. The first player flips it before their first turn.
Collect before 2nd turn. 1 ISK is placed on this at the start. The first player collects it before their second turn.
Flip before 3rd turn (For four or fewer players). A card is dealt face down on this at the start. The first player flips it before their third turn.
Flip after first death (For four or fewer players). A card is dealt face down on this at the start. The first player flips it after the first Death of any player's card.
Flip after second death (For three or fewer players). A card is dealt face down on this at the start. The first player flips it after the second Death of any player's card.
7. No self-challenges, self-assassinations, or self-coups are allowed.
An updated rules summary sheet for our modifications is:
Print that sheet at 45% of full-size in portrait orientation to exactly fit in the original Coup box.
The player who won the previous game becomes the new first player. Reverse the order of play (or change seats) around the table between games.
Morgan McGuire (@morgan3d) is a professor at Williams College, a researcher at NVIDIA, and a professional game developer. His most recent games are Project Rocket Golfing for iOS and the Skylanders series for consoles. He is the author of the Graphics Codex, an essential reference for computer graphics now available in iOS and Web Editions.
It's been a while since I painted any tanks (not that I have enough yet, obviously đŸ˜‚), I had a couple lined up for one of our forthcoming early War Op Compass Campaign games and decided to get them done in good time, added to that my ongoing assault on the Analogue Hobbies Winter Paint Challenge continues and this year there is a Toofatlardies "What a Tanker!" Challenge and these would be reet for that.
The tanks themselves are 28mm scale from Warlord Games and as far as I know are the only examples of the A9 Cruiser Tank in this scale, sadly they don't do a desert version with sand guards and my modelling skills are too limited to make any, so let's pretend they fell off !
They are painted in the Caunter Scheme which was common in the early Desert battles and was designed to disrupt the shape of the vehicle rather than camouflage it. The paints are from AK Interactive who do a specific Caunter paint set, I have added some decals and a Tank Commander (to one vehicle). The lines are all hand painted, I really can't be bothered with masking and Airbrushes, it's just by eye till it looks good. There is a little bit of weathering, with some chipping and a wash in the recesses as well.
With a frontal "armour" of only 14mm it was vulnerable to an angry man with a pointy stick, if he had a decent run up. Just to make it better all the armour was virtually vertical and there were shot traps everywhere. Thankfully they were up against some equally poor Italian vehicles, by the time the Germans turned up with some proper tanks they had virtually all disappeared.
British tanks were named, often with the first letter of the name representing the Company they belonged too, so my A Company tanks are "Archer" (I am watching Enterprise at the moment so after the Captain) and "Amos" a classic name from the famous character from the Yarkshire TV Soap Emmerdale (when it were proper before t'plane crash).
These 2 will make a total of 4 A9 tanks which will be it for this particular model in my British Army, time to finish off the A10 Cruiser Tanks next, anice little deviation from the Italian Wars Project, I have some Italian Motorcycles to hopefully add to the WW2 Desert stuff soon.
Greetings and welcome to my hopefully new feature, interview episodes! First up is Jeff Ronne, who was the programmer for Tron Deadly Discs from M Network. I really enjoyed talking with him and I am grateful to him for his time. He's an interesting guy and also one of the few programmers at that time who programmed games for multiple systems. If you have any comments, you can email them to me at 2600gamebygame@comcast.net, or leave them on the Facebook or Twitter pages. Thanks so much for listening!
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