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2008年10月12日星期日

The Popcap® Way

At PopCap, game development is all about "iterate, iterate, iterate." We'll start with a core game concept, build a quick prototype, and then spend months refining and refining and refining it until it's super fun and polished.

Every iteration adds more of the perfect touches that set a PopCap game apart: Extremely fun and intuitive game play. Simple learning curves and user interfaces. Beautiful visuals and exciting sound effects. New goals, increased challenges, and sparkly things to collect as players get better.

“We may experiment with different genres, but our goal is always to make games that literally anyone can play. That's what we do best.-- Jason Kapalka, PopCap founder”

We test all our games with our employees, our moms (really!), our significant others and friends, and of course our beta forum. All these sources provide invaluable insights into every detail of a game's makeup, and we use their feedback to fine-tune each game before launch.

We typically spend twice as long finishing a casual game as anyone else in the industry. And although we're always pushing the envelope in production quality and depth of game play, the core activity must be truly fun for a game to make it out the door. Otherwise, we'll shelve the game - no matter how long we've worked on it. In fact, we pursue dozens of game ideas for every title that ends up shipping.

While a typical video gaming company may have three to five flops for every success, PopCap Games has yet to have a failure thanks to this fervent approach to development. And for these developers who share our passion for excellence, we also provide our development framework for free.

“We are willing to kill a game at any stage if we don't think it's working out - even ones we've been working on for months. -- John Vechey, PopCap founder ”

PopCap Manifesto

A Whole New Ball Game 

Casual games redefine the computer gaming market

Think computer games consist only of highly competitive, shoot-’em-up games enjoyed by males under the age of 25? Not any longer. Over the past few years, a whole new category of games has emerged — called casual games — and it’s transforming the market.
 
Casual games are the deceptively simple games found throughout the Web and on many mobile devices; they include puzzle games, word games, simple action games, trivia games, and card games. Casual games are distinctive for being small in size, easy to learn and play, inexpensive, and irresistibly fun, even addictive. Most are single player, though multi-player games aren’t unheard of. And unlike traditional video games, casual games appeal to men and women of all ages and interests. According to leading industry research firms, more than 50 percent of casual gamers are women, more than 75 percent are 35 to 60 years of age, and nearly 50 percent are married with kids.
With the potential to reach a mass consumer audience and with the burgeoning proliferation of high-tech mobile phones, which are ideal platforms for casual games, the category is the next big thing in digital entertainment. International Data Group expects the downloadable casual games market will exceed $1 billion by 2008, and that figure doesn’t reflect the growth in mobile phones.

As the undisputed leader in the casual games category, PopCap Games has been at the forefront of market innovation, ushering in new approaches to product and market development that have become industry-wide standards. In this paper, we share the key tenets of PopCap’s casual games philosophy and discuss how they guide the company’s approach to game design and distribution.


GAMEPLAY: It’s about discovery — not conquest. 


Why do people play games? Because they’re fun, of course. But where hardcore games are appealing because they’re exciting and aggressive and about conquering obstacles, casual games are instead about relaxation, delight, and, at its essence, discovery. 
Like traditional hardcore games, quality casual games immerse you in a distinctive world of colors, sights, sounds, and patterns. But with a game like Bejeweled, PopCap’s flagship product, the fun is in figuring out how to swap gems in order to create a row of three or more identical jewels. The game depends on organization, not destruction, and players are focused on finding a solution to a problem, not obliterating the opposition. With Zuma, a more action-oriented puzzle game, it’s firing balls at a certain moment, with a certain degree of accuracy, to make sets of three. With Bookworm, which is part cross-word, part word jumble, and part arcade puzzler, it’s about finding patterns in seemingly disparate groupings of letters and moving letters around strategically to form words.

When playing these games, a user isn’t consciously analyzing what makes certain actions produce certain effects. It’s much more intuitive than that. And because the games require skills-based strategy, the “aha” moment of discovery is very rewarding. The best casual games are designed with hidden complexities that make them timeless and infinitely replayable, so that just when people think they’ve mastered a game, they’re presented with tantalizing new challenges.


ACCESSIBILITY: Learn it quickly — play it anywhere.


People can spend hours, even weeks, trying to understand the basic gameplay of a complex traditional action or strategy game. Casual games are much more accessible. New players can be up and running in just a few clicks, and detailed instructions are never required. 

While traditional games can be immersive, complex, and photo-realistic, those attributes can be a handicap to accessibility. In contrast, casual games can easily be purchased and downloaded online, instead of needing to be installed from a CD or DVD. What’s more, casual games can be adapted to virtually any device, including cell phones and PDAs. That makes it easy to enjoy casual games anywhere, any time —at home, at work, or on the go. 


AUDIENCE: Girls just want to have fun, too. And women. And men over 25. And seniors.


Like many blockbuster Hollywood movies, traditional hardcore games are targeted to young men. They’re designed for them, they’re marketed to them, and they’re played almost exclusively by them.
Casual games don’t have that limitation. While no one game will appeal to everyone — some people prefer to look for visual patterns and explore spatial relations where others would rather do word games, and some enjoy card games more than trivia games — casual games in general have an extremely broad consumer demographic, including:
 An office worker looking for a fun diversion while on break.
 A stay-at-home mother relaxing on her computer while the baby naps.
 A grade-school student who’s earned a reward for finishing his homework.
 An adult, whose cell phone is loaded up with games, waiting in an airport or coffee shop or somewhere standing in a line 
 A senior citizen whiling the time away on a leisurely afternoon 

While PopCap’s games are not designed specifically for older individuals, approximately 75 percent are 35 or older. And nearly 60% of PopCap’s customers are female (Media Metrix). 


AESTHETICS: Quality is often imitated, but never duplicated. 


What accounts for quality in casual games? It starts with the core game mechanic, that is, the basic rules of the game. With Bejeweled, for example, there’s something inherently captivating about the process of swapping out gems to create matched sets. But just as a movie remake usually can’t compare to the original, so Bejeweled’s imitators, all of whom have copied its basic game mechanic, have failed to capture audience interest. 
That’s because the real magic in a game isn’t based only on the mechanics — but also on how the mechanics are implemented. It involves myriad subtle yet tangible experiences. It’s things like the rate at which gems fall on the screen. The sound they make when they fall. The timing of transitions. The speed at which the user is rewarded. PopCap lavishes exquisite attention on such details, and it is this unwavering commitment to quality that makes their games universally popular.

Developers of casual games focus more on aesthetic aspects of quality than on harnessing computer horsepower to the greatest technological extent, such as mapping animated videos onto 3D objects and inundating the screen with as much visual and strategic complexity as possible. What’s more, casual games are much less expensive to create than traditional games. As a result, PopCap has the luxury to take risks and experiment with game concepts, releasing products to market only if they meet the team’s collective standards for quality. 


BENEFITS: Just because it’s fun, doesn’t mean it’s bad for you.


While PopCap hasn’t commissioned any scientific studies on the subject, customers and medical and academic researchers alike identify many benefits that come from playing casual games. 
According to Dr. Carl Arinoldo, a psychologist in Stony Brook, New York, “Casual word and puzzle computer games, such as Bookworm and Bejeweled, can help people exercise and enhance their concentration and focusing skills; develop new cellular brain connections, thereby helping to keep the healthy brain active and vital; and, by seriously attending to the word and puzzle games, people can control stress by cognitively ‘blocking out’ the negative stresses of the day, at least temporarily.”
Anecdotal evidence indicates that casual games can:
 Reinforce mental sharpness and skills like spelling, pattern recognition, and quick decision-making.
 Help older individuals maintain manual dexterity.
 Give people a much-needed break from everyday stresses.
 Provide inspiration for problem solving or other creative tasks.

 Build self-confidence by developing the skills and/or strategies to play a game successfully. 


BUSINESS MODEL: The games really have to sell themselves. 


PopCap pioneered the “try it for free, then buy it” sales strategy that has been successfully adopted throughout the industry. One thing about this business model — it won’t work unless the customer is satisfied. In other words, expensive advertising campaigns and movie tie-ins and dazzling Flash animations won’t compel customers to purchase a casual game unless they’re still having fun once the 60-minute trial version expires. 
PopCap’s sales figures attest to the company’s success. In 2004 alone, they sold more than 2,500,000 Deluxe versions of their games, making them one of the most successful companies in the business. And free trial versions of PopCap products are perennial favorites at popular gaming sites like AOL, MSN, Yahoo!, and RealArcade. PopCap.com alone has hosted more than 150 million downloads since the company’s founding in 2000.
To ensure that they keep delivering what customers want, PopCap continues to be at the forefront of market innovation. At the moment, they are developing breakthrough concepts for micro games, which can be enjoyed for just a few minutes at a time, as well as introducing more multi-player games into the casual market. The company is also beginning to export games around the world, with offices opening in Europe and Asia. 
One thing is certain. Customers can expect that, for a long time to come, PopCap will continue to make the most innovative, most broadly appealing, and most enjoyable casual games available anywhere.

Zener Card

Definition: Zener Cards are also known simply as "ESP cards." When Chicago botanist Joseph Banks Rhine began his experiments at the Harvard psychology department on psychic phenomena, he was assisted by Karl E. Zener, a colleague in that department. The two performed "card guessing" experiments in which a researcher would pull a card off of a deck and look at it while the subject would attempt to guess what was on the card - correct guesses which were significantly more than what would be predicted by chance was assumed to indicate the presence of telepathic or clairvoyant powers. 


In order to simplify procedures, Zener came up with five cards, each with distinct symbols on them: a cross, a star, a circle, a square and three wavy lines. These cards eventually became very popular by those studying psychic phenomena and have been used in experiments around the world. When they were first introduced, however, it was shown that the symbols on them could be read quite readily from the backs (with enough light) and even from the sides. This likely contributed to the high scores achieved by subjects in the early experiments.

2008年10月11日星期六

古代游戏(中国篇)

一:角力型游戏:力量游戏  
 1.角抵:是一种类似现在摔跤、拳斗一类的角力活动。通过非常简单的人体相搏来分出胜负输赢。  
 2.相扑:角抵在宋代变为相扑,相扑虽然主要是靠力量来战胜对方,但有时也要讲究一定的技巧。  
 3.拔河:拔河古称"牵钩",相传起源于春秋时楚国一带。中划一条界线。一声号令后,两队人马拉住竹索使劲往自己一方拔,一直拔到另一方拉过界线为止。拔河时一边还要敲着大鼓,以振奋人心。  
 4.斗禽:斗禽包括斗鸡、斗鸭、斗鹅、斗牛、斗马、斗蟋蟀、斗鸟、斗鱼等等,这类游戏虽然不是由人直接参与争斗,但却是以动物之间的相斗、角力为内容的游戏活动.  
 4--①斗鸡:把两只性情凶猛的公鸡放在一起,它们就会激烈地斗啄咬起来,一直斗到一方败下阵来为止。两鸡相斗后是鸡冠流血,无力啼叫。如果两鸡相斗之久,各显疲惫之态,还要用水喷醒,使其清醒振奋,重新投入战斗。  
 4--②斗牛:斗牛游戏过去在浙江金华一带非常盛行,其胜负视牛力之大小,牛术之优劣,耐性强弱而定。如一方体力不支,或受伤逃奔,则胜负已分。斗牛人立即抄住牛角,将两牛分开,由牛主人牵牛出场。  
 4--③斗鸟:鸟类动物体形一般都较小,但是其性情却也十分凶猛,善争好斗的鸟类不计其数,八哥、画眉、鹪鹩、鹌鹑等等都十分喜好相斗.


二:竞技型游戏:通过一些特定的技巧和方法来进行竞斗较量。 
 1.投射:起源于上古时期。  
 1--①击壤:是最原始的一种.只有瞄得准,力量用得得当,才能击中目标。  
 1--②投壶:是一种由射箭演变而来的投射游戏形式。投壶者站在离壶一定距离的地方,把箭投向壶中,以中壶口的箭数或中箭的状态来决定胜负,赢者得筹,负者饮酒。起源于先秦时期。  
 1--③其他射箭游戏:如射柳、射兔、射鸭、射鼓、射粉团、射香箭、射天球、九射格等等,              
 2.球戏:产生于先秦时期.  
 2--①蹴鞠:汉魏和唐宋时期得到极大发展的就是蹴鞠,汉代皇室中的蹴鞠规模很大,有专门的球场,四周还有围墙和看台。较为正规的蹴鞠比赛分为两队,双方各有十二名队员参加,以踢进球门之球数的多少决定胜负。平民百姓的蹴鞠活动大多是两三个人自己随便踢踢玩玩,而且也只能是在路旁小巷中进行。到了唐宋时期,蹴鞠的形制有了很大的改变,蹴鞠的技术也有了很大的提高。到了清代时期,蹴鞠又和溜冰结合在一起,出现了一种"上蹴鞠"的活动。玩时双方数十人分位而立,各有统礼,扎一彩球并将其抛起,众人群起而争,边滑边踢球,互相追逐嬉戏。  
 2--②击鞠:即马球.出现于唐代时期,游戏者必须乘坐在骑乘上击球.击鞠的球场,球具和玩法上也都与蹴鞠有所不同。其球场形制一般是在一端立双桓置板,下开一孔为门,门上挂有网囊,也有的是在两端各立一门。游戏者分成两队,每人手中拿一根头部弯曲如偃月的球杖,骑在马上用球杖争球,抢得球后还要把球击入球门中的网囊中,谁击入网内的球多谁便算赢。到了宋代时,击鞠之戏常常被用于宫廷表演。  
 2--③:与击鞠相类似的"步打"也叫"步击"、"捶丸",起自唐代,流行于宋元。其游戏方法是:在旷地上画一尺见方的球基,离球基六十至百步处,作若干球窝,旁树彩旗。游戏者轮流持木棍从球基将球击入球窝,很像现代流行的高尔夫球。  
 2--④木射:有点类似现在的保龄球。"木射"起源于唐代,又名"十五柱球戏"。其玩法是在场地一端竖立十五根笋形平底的木柱,在每根木笋上用红黑颜色各写一字.红黑相间,作为目标。用木球从场的另一端滚去,命中红笋者为胜,中黑者为负。  
 3.秋千在我国晋代时期就已开始流行.掌握绳索的惯性,利用绳索的前后摆动,荡出各种各样的姿势。最为普遍的形式是在木架上悬挂两绳,下系横板,游戏者在板上或坐或立,摆动秋千,让身体随着秋千的摆动而上下起落。中国古代的荡秋千还有一些技巧性较强,难度较大的方式。如"纺车秋千"玩时要在两个柱架上开孔设置四块横板,呈幅射状,板上共坐四人,由他人帮助转动,然后利用惯性反复起落,如同纺车转动。"推磨秋千"玩时要在柱架上装轴,上系四绳,绳末各有一环。游戏之人各抓一环,绕柱旋转。"磨担秋千"则如跷跷板游戏,板上左右各坐一人,以互落互起为戏。荡秋千之戏到了唐宋时期非常普及,特别是在妇女、儿童中广泛盛行。宋时军队中还出现了一种"水秋千"的形式,届时在船上立起秋千架,敲起大锣大鼓。荡秋千之人将秋千高高飞起,到了秋千与架顶相平的高度时,突然飞身跳起,翻筋斗掷身投入水中。  
 4.踢毽子:是我国古代较为盛行的游戏形式。毽子古称"抛足戏具",是一种用鸡毛插在圆形底座上做成的游戏器具。早在汉代时期毽子游戏已经出现,到了六朝和唐宋时期盛行于民间,特别是在儿童中十分普及.如"里外廉、拖枪、耸膝、突肚、佛顶珠"等等,都是一些踢毽子时常用的技巧。到了元明清时期,毽子游戏仍很盛行.

三:斗智型游戏:主要是指人类的概括、判断、推理等思维活动.  
 1.七巧板:它一般是用一块正方形的薄板裁成大小、形状不同的几何图形七块,然后将这七块板按不同方式拼合起来,组成人物、动植物、住房建筑、山亭楼阁、船桥车马、花卉鸟虫等各种图案。七巧板源于唐代的"燕几"。"燕几"也叫"骰子桌",是一种古人在宴会上用的桌子,这种桌子一套共有六张,大小形状各不相同。在宴席时,人们将这些桌子摆成各种图案,以增加宴会的欢乐气氛。后来,燕几从六几变为七几,易名为"七星",这就是七巧板的雏形。后又经人们改制,将燕几桌改为纸板,于是真正的七巧板就出现了。  
 2.益智图:相传为清光绪年间儿童叶庚创制。他根据民间流传的七巧板,取《易经》中"一画、二仪、四象、八卦"合起来的数目,将拼板改为十五块。这十五块小板,可以拼合成各种人物、动物和其他形状。由于比七巧板增加了板块数,因此圆缺方长,尖斜曲直诸形皆可拼出。  
 3.围棋:先秦时期围棋已在社会上流行,到了汉魏唐宋时期,围棋得到了很大的发展,直至元明清几代,围棋还是一直盛行不衰。围棋的着法和规则十分复杂,它主要是通过做眼、点眼、打劫、围、断等多种技术和战术吃子和占有空位,制胜对方,通常分为布局、中盘、收官三个阶段,每一阶段各有重点着法。结局时将实有空位和子数相加计算,多者为胜。  
 4.象棋:由于在形制和方法上都要比围棋简单,因此其普及程度要比围棋高得多。象棋的棋盘由九道直线和十道横线所组成,构成九十个交叉点、棋子共三十二枚。这种棋戏由唐代时的宝应象棋演变而来,至宋时已基本定型.

四:猜射类游戏:主要通过游戏者对某些事物的形状、大小、颜色、数量等方面的猜测、揣度来决出胜负,是依靠人的判断、推理来进行活动的。  
 1.射覆:就是在瓯、盂等器具下覆盖某一物件,让人猜测里面是什么东西.汉代时期皇宫中已经流行射覆游戏。射覆所藏之物大都是一些生活用品,如手巾、扇子、笔墨、盒罐等等.  
 2.藏钩:指在汉代皇宫中盛行的用玉钩来作为射覆之物的游戏活动.  
 3.谜语:其主要的表现形式,是运用语言文字上的各种特点,将一些事物的意义或形象隐藏起来,供人揣度和猜测。早在春秋时期,谜语的雏形已经出现。至唐代时,社会上除了出现大量的事物谜和文字谜以外,还出现了大量的诗谜,如"敲诗"、"打诗宝"、"诗钟"等等。到了宋代,由于元宵灯会的盛行,又产生出"灯谜"这种独特的猜谜形式。灯谜是将谜语贴在花灯上,让人一边赏灯,一边猜谜的游戏方式。  
 4.酒令:酒令的真正兴盛是在唐代。唐代的酒令名目已经十分繁多,如有历日令、罨头令、瞻相令、巢云令、手势令、旗幡令、拆字令、不语令、急口令、四字令、言小字令、雅令、招手令、骰子令、鞍马令、抛打令等等,代以后,酒令游戏仍然盛行不衰,其名目也越来越多。这些酒令中有很大一部分是猜射性的,它们或猜诗,或猜物,或猜拳,总之,它们都是以猜测某些东西的方式来决定胜负,然后进行赏赐或罚酒。酒令中最为通俗,也最为热闹的方式是猜拳,也叫"划拳"、"豁拳"、"拇战"。它是由两人同时伸了几个手指,并同时喊猜所伸手指的合计数的一种游戏方式。如手指数被一方猜中,另一方便算输,需罚酒。猜拳中喊出的数目都有一定的口彩,而不仅仅是只有几个干巴巴的数目字。如"一品香"、"二相好"、"三元及第"、"四季发财"、"五京魁首"、"六六顺"、"七巧"、"八仙过海"、"快得利"、"满堂红"(或"金来到")等等。这些酒令词都有讨吉利的涵义。

五:博戏类游戏:主要特点就是游戏的胜负结果要以钱财来兑现。在游戏活动中获胜的一方,可以获得由负者一方支付的一定数量的财产钱物,因此这种游戏方式实质上是一种具有赌博性质的活动。  
 1.骰子:骰子最早产生时形状各异,上有各种刻纹,后来则统一为正方形或长方形,上刻一、二、三、四等点数,并以红、黑颜色相区别。中国古代的绝大多数博戏活动,都要通过掷骰来进行,有些博戏是直接用掷骰的方式来决出胜负,也有一些博戏则是要通过掷骰与行棋、打牌的结合才能决出胜负。这些游戏活动都有一个共同的特点,那就是"悬于投"。   
 1--①六博:六博本有大博和小博之分,大博用骰六枚,称为"箸",小博用骰二枚,称为"茕"。在比赛的时候,双方互掷骰子,行棋步数则主要根据博彩而定。  
 1--②樗蒲和双陆:也要经过掷骰子来决定行棋程序。樗蒲所用的骰子共有五枚,有黑有白,称为"五木"。它们可以组成六种不同的排列组合,也就是六种彩。掷到贵彩的,可以连掷,或打马,或过关,杂彩则不能。双陆中的骰子为二枚,棋子称为"马"。行马时,可以根据两枚骰子的不同点数分别行两马,也可按两枚骰子点数之和独行一马。如掷得三和五,合为八点,可一马走三步,一马走五步,也可一马走八步。有的双陆还规定"归梁"后要将马出尽。两枚骰子之和在六点以上者出二马,不足六点者不得出马。  
 1--③五木、投琼和彩战等:是不通过行棋而直接依靠掷骰子来分出胜负的博戏方式,如流行于东晋时的"五木",流行于唐代时期的"投琼"、"彩战"等形式就是如此。如"五木"本是樗蒲行棋时的一种掷骰活动,但后来"五木"逐渐变成为一种独立的游戏。玩五木时不需要进行复杂的行棋,只要掷出骰子便可决定胜负。唐代"投琼"、"彩战"之戏的形式与五木十分相仿。随着双陆的盛行,双陆中的骰子在唐朝时也开始从双陆中游离出来,由于它的排列组合比五木复杂,有趣得多,因此它很快就取代了五木,成为唐后一千余年中最为流行的博戏方式。双陆中的骰子原为两颗,唐中期以后,发展为六颗,它们的总体原则是,以同色(又称"浑花",全部为一种点数)为贵,驳杂为贱。在同色中,又以红色为贵。各彩都有特殊的名称,   
 2.骨牌:产生的时间约在北宋宣和年间,故亦称作"宣和牌"。骨牌实际上是由骰子演变而来的,它的每扇牌面上都由两个骰子面拼成.如明清时期盛行的"推牌九"、"打天九"等等,都是一些非常能够引起人们兴趣的游戏方式。  
 2--①推牌九:主要是用骨牌点数的不同组合来比大小,以此决出胜负.一般是轮流做庄,庄家将牌砌好,用骰子掷出点数,然后按顺序将牌分配到每个参赛者手中,由其他人的牌来与庄家比大小。如比庄家大的庄家赔注,比庄家小的庄家吃注。  
 2--②打天九:玩法与推牌九相似,也是以骨牌的点数组合来比大小,可四人玩,也可三人玩。玩时先掷骰然后以所掷点数依次抹牌打牌。牌类有文牌、武牌之分。文牌又可分为大牌(天、地、人、和)、长牌(长三、长五、长二)、短牌(幺五、幺六、四六、虎头)三种。同类牌中的大牌可以打小牌,但不同类的牌则不能互打。武牌也同样。但文牌和武牌之间则不能相打。打天九还可用骨牌副子相打。最大的是"至尊",以下是一文一武合成的副子,这种玩法最后还要有一轮"结",能"结"才算获胜。  
 2--③麻将:麻将原属于马吊牌系统,其牌式主要有"文钱"、"索子"、"万贯"等。打麻将一般需四人成局,轮流做庄。庄家用骰子掷出点数,确定抹牌始处,然后各家开始抹牌和打牌。麻将的主要法则是将自己手中的牌尽快凑成规定的牌式组合,以便能够"和"。其中最基本的牌式组合有两种,一种称为"坎",由三张同色同数的牌组成,另一种称为"成",由三张同色连数的牌组成。只要将自己手中的牌全部凑成"坎"和"成",便可将牌摊出,称为"和",这样就算获胜。  
 3.叶子戏:纸牌古称"叶子",最早出现在唐代。到了明清时期,已非常盛行。叶子戏主要有两种。  
 3--①马吊牌:绘有钱索、铜钱和人物形象的马吊叶子,就是所谓的"马吊牌",一般共分四门,分别为"文钱"、"索子"、"万字"、"十字"。前两种给有铜钱或钱索图形,后两种则绘有水浒人物宋江、武松、鲁智深等形象。打马吊以四人为局,每人为一垒,四人轮流抹牌,每人八张,余八张为中营,类似现在的压底牌。用掷骰来选出"主将"(即庄家),他可以支配中营的八张牌,其他三人则联合为一家与主将斗。斗牌的原则是以大击小,牌的大小以"十字"、"万字"、"索子"和"文钱"为序,只有"文钱"一门是以小管大。马吊叶子在明代时期十分流行,到了清初,又变为"默和牌"。它只剩"万子"、"索子"和"文钱"三门,其基本打法是四人成局,每人抹牌十张,以三四张同门之牌连为一副,三张同色之牌也连为一副,三副牌俱成者为胜,这已经与麻将的玩法非常接近了.

齐夫定律

从根本上讲, 齐夫定律 可以表述为, 在自然语言的 语素库 里, 一个单词出现的频率与它在频率表里的排名成 反比. 所以, 频率最高的单词出现的频率大约是出现频率第二位的单词的2倍,而出现频率第二位的单词则是出现频率第四位的单词的2倍。这个定律被作为任何与power law probability distributions有关的事物的参考。 这个 "定律" 是 Harvard linguist George Kingsley Zipf (IPA [zɪf])发表的.

比如, 在 Brown 语库中, "the" 是最常见的单词,它在这个语库中出现了大约7%(10万单词中出现69971次)。正如齐夫定律中所描述的一样,出现次数为第二位的单词"of" 占了整个语库中的3.5% (36411次), 之后的是"and" (28852次). 仅仅 135 个字汇就占了Brown 语库的一半。

齐夫定律是一个实验定律, 而非 理论定律. 齐夫分布可以在很多现象中被观察到。齐夫分布的在现实中的起因是一个争论的焦点。 齐夫定律很容易用点阵图观察, 坐标为log(排名) 和 log(频率)。 比如, "the" 用上述表述可以描述为x = log(1), y = log(69971)的电. 如果所有的点接近一条直线,那么它就遵循齐夫定律。 最简单的齐夫定律的例子是 "1/f function"。给出一组齐夫分布的频率,按照从最常见到非常见排列,第二常见的频率是最常见频率的出现次数的 ½。第三常见的频率是最常见的频率的1/3。 第n常见的频率是最常见频率出现次数的1/n。 然而,这并不精确,因为所有的项必须出现一个整数次数,一个单词不可能出现2.5次。然而,在一个广域范围内并且做出适当的近似,许多自然现象都符合齐夫定律。

鲛人

【简介】

  鲛人,鱼尾人身,谓人鱼之灵异者。中国古代典籍中记载的鲛人即是西方神话中的人鱼,他们生产的鲛绡,入水不湿,他们哭泣的时候,眼泪会化为珍珠。晋干宝《搜神记》卷十二:“南海之外,有鲛人,水居如鱼,不废织绩,其眼泣,则能出珠”。此说《博物志》、《述异记》并载之而文小异。《述异记》卷上且云:“蛟人即泉先也,又名泉客。南海出蛟绡纱,泉先潜织,一名龙纱,其价百余金。以为入水不濡。南海有龙绡宫,泉先织绡之处,绡有白之如霜者”。又《太平御览》卷八0三引《博物志》(今本无)亦云:“鲛人从水出,寓人家,积日卖绢。将去,从主人索一器,泣而成珠满盘,以与主人”。
   
  《博物志》:“南海水有鲛人,水居如鱼,不废织绩,其眼能泣珠”。南朝梁任昉《述异记》:“鲛人,即泉先也,又名泉客。……南海有龙绡宫,泉先织纱之处,绡有白之如霜者。”《述异记》又载:“南海出鲛绡纱,泉室潜织,一名龙纱,其价百金,以为服,入水不濡。”

【分布】
  生活在海中,少数与海相通的大河大湖包括地下湖中也有少量鲛人,主要看水的深度与水质。鲛人不愿在不洁的水中生活。

【繁育】
  平均寿命七十岁。胎生,可一胎多胞,孕期六个月。但只有每年八九月才能受孕,幼婴也多统一生于二月。小鲛人一生下来在气囊中,数小时后即破,可以游泳。但海中天敌多,成活率差。因此种族繁衍速度尚逊于人类。

【外貌】
  流线修长,身材好,近似人类,略为瘦高。但上肢与身体两侧间连有半透明皮质翼和飘须,显得漂亮飘逸,但这是在海中游动的必要。下身自腰起附有多条长于腿的裙状透明薄带。游动时双腿被裹入其中,以利于减轻水流阻力而游动。传说中鲛人是古人类某国为避战祸用魔法改变了体质躲入水中而成族,因而有双腿,又传说是渔人遇海中仙人而被变为仆,但谁也不知道鲛人真正来历是什么,传说永远只是传说。男性鲛人背上有角质鳍,女性是透明软质,因此男性看起来凶恶而女性柔美。

  鲛人有头发,色彩多样。鲛人下层男性为劳动与战斗需要多从幼时就将它们剃去,并在头顶刺青。女子紧束起或配以绡帽。鲛人男子留发往往是贵族及上等人的标志。

  鲛人身体因有飘带与须垂下遮盖,因此平时不再着衣物。水中静立或行走时皮翼及飘须包住身体大部分,游动时上身裸露,下身在飘带中。只有部分贵族因为乘坐巨鱼所拉的浮车(水草与轻质木料造成),不太须自己长途游动,所以为表明特殊身份及保护身体,以光滑水草或被称为绡的一种特制织品(用若鲷鱼的泡膜碾拉配以鳞粉和鱼油做成,极为光滑而不吸水)制成披风裹带等衣物,鲛人衣物是前后分襟,只在脖前和腰间相系,多有网孔花纹,有时也在下身长飘须外再附以长裙。时间长久后,随着鲛绡渐普及,一些民众也开始效仿。

  鲛人男性平常时皮肤和人类一样,但遇敌时会迅速转变为战斗体质,在身体外形成坚硬鳞甲状皮肤,如同披上盔甲。女性无此能力。

【水外体质】
  鲛人普通情况下无法在水外生存超过一天。上岸后必须每日服用药物并花数个小时时间在水中恢复。而且非海水的效果恢复不好,会影响健康,在水外呆得越久,身体越虚弱。长期使用药物的话,健康会受损,寿命会缩短。但陆上也有许多鲛人愿意冒险探寻之物,所以在大湖深潭中有时能找到鲛人的隐秘据点。传说鲛人有奇法能使人在海中呼吸生活,但也同样以减少寿命为代价,但人族中尚无人知道这秘法。

【语言】
  鲛人使用类吟唱的语言,在海中用和歌般声调在传达信息,这样可以在海中传递很远。靠近时的语言交流也使用通过喉间骨振动发出的一种快速音频。其他种族是极难理解的。大多数不懂人类语言。人类在海外听到奇怪歌声,就知道是遇上鲛人了。

【食物】
  鲛人主要以鱼类为食,辅以海中可食植物。

【社会】
  运用海底浮力开采石块和搭脚手架种植快速生长的珊瑚生物的方法建造海底城市。一个中等鲛人城市约有千人。普通村落近百人。鲛人随着海洋鱼群和温暖海流的走向变化常常迁移,平均十几年迁移一次,留下一座空城遗迹。另有些游猎的鲛人部族会用水草编成屋巢,在海中悬飘,一个部族极多会有数百个这样的草巢相系。

  一些城市使用了一种海中石灰质制成空心基座及柱墙,并使用轻质海中植物建房,因此也可在海中浮动,利于迁徙。

  一部分鲛人由于部族的联合,生产力增强,占据了好的海流地带,开始驯养鱼类及海中植物,形成了定居生活,便出现了国家,不再迁徙。鲛人国多为城邦制。

  鲛人有王。男女都可为王,世袭制。有官制和少量常备卫队,但战时军队是临时从国民中组召。有各部臣官处理事务,国民分市民与奴族,奴隶由犯罪者和异族者及战俘构成,在战争中夺取财产赎身或立得战功是他们摆脱奴隶地位的主要方法。但军队也是有限的,鲛人在海中的战斗的主力还是驱役的食肉鱼群。有专门的海语者(法师)运用驱役法术。一场战争下来,海水血红。

  鲛人存在货币,各国家可能存在不同,有海星,龟壳等等。但最通用是一种较稀有绝难人工培育直径大至相同的金色珍珠,叫珠铭。因为较少有,在海中他们也使用已含这种珍珠的活贝,称为合币,因为珠还未最后长成,有些类似预付款。一些亲近人类的鲛族在海边与人族贸易,多以物易物,有时也接受陆上稀有的鲛人货币。也有一些与人来往较密的鲛族或有事在岸上逗留的鲛人使用人类货币。

【与地面种族的交往】
  许多鲛人族把水域视为自己领地,极厌恶其他种族入水游泳或航行,因为他们认为地面是污秽的世界,地面种族下水这将使水污浊。所以鲛人常常对航行的地面种族发起进攻,这也大大阻碍了地面种族航海文明的发展。在九州内三海也常有鲛人的出没,鲛人不用弓,只用鱼筋弩或水压弹射筒,在水下射程较近,不足百尺,但在水外发射时,可达数十丈,击中远处船只上的人,不过水压弹射筒在陆上使用不便,因为不压注水是无法再次发射的。

  但随着种族的日益接触了解,一些鲛人部族开始变友善,在人族举行祭海仪式并用酒清洗他们的船后,可以下海。航海者在航行中不断把酒洒入海中,鲛人闻到船上的酒香便不再攻击。当然不是所有的鲛人部族都这样。

  鲛人和人族可以通婚,但极难生育,即使有所生,孩子为人族,虽也生于气囊中,但不再具有鲛人体质特征,如在水中生产,气囊破后即会淹死。鲛人与其他种族的婚配参见种族通婚设定。

  鲛人与地面种族的交往,多是海边贸易,或者渔民开船到海中珊瑚岛礁。由于在地中三海内也有鲛人,所以陆地种族对鲛人日益熟悉,见怪不怪。鲛人善于用海中原料纺织一种极薄的丝绸,叫做鲛绡,轻而韧,表面极光滑。用于海中建筑及服装。在九州,这是一种极其珍贵的丝织品。传说海上偶然出现的“海市蜃楼”,就是鲛人们出售交换这种鲛绡的集市,谁要是能去到那里,就可以买到这种宝贝。而事实上,海市蜃楼是鲛人部落升上水面后加以魔法施雾后的结果。鲛人部落出现于水面,原因多种,比如进行参星的祭典,或是被上升海流所挟,或是为躲避深海季节性的危险寒流,或是迁移时用星辰来占卜决定方向。

  由于存在着愿与地面种族通商的部族和仇恨地面种族的部族,所以下海去鲛人“海市蜃楼”是极危险又有极大利益诱惑的挑战。

  另一传说鲛人在悲伤哭泣的时候,滚落的眼泪是美丽的珍珠。引自《博物志》:“南海水有鲛人,水居如鱼,不废织绩,其眼能泣珠。”这个典故的名字就叫鲛人泣珠。事实上那是鲛人哭泣时所流出的眼泪的结晶,因为鲛人体液成分缘故,所以会在离开体外后在水中及空气中快速凝结。当鲛人在陆地上时,也常常因为不能接触水的生理原因流泪。绝大多数鲛人的泪结晶易碎而色混,毫无价值。但有某些情况下如星辰力量或当时出现特异体质与精神状态的影响,万分之一的机率可能凝成不易损而发光的珍珠般的宝物,所以鲛人自己也视为是得到上天赐予,并传说鲛珠能提高人感应自然的灵性。传说中在月圆之夜鲛人哭泣时,滚落的鲛珠特别圆;而在月亮缺一角时,鲛珠也就是奇形怪状的,这或许就是星辰对相应体质的鲛人影响的例子。

  鲛人在地面上迟动不便,常被自己的飘带绊倒。鲛人即使攻下海边城市,也不会占领,因为除非引入海水将其灌注无法居住。由于人族相信地中海下的古遗城有大量财宝,所以常有人冒险进入鲛人的领地,也有邪恶者甚至打起驱除鲛人的想法。当然,也有一些鲛人海语者想着如何使海水涨起,清洗全世界。

  鲛人的几乎唯一陆上据点,地中三海中心的闵钟山。那里山中有通海的大湖,是鲛人的常据地之一。也是传说中美鲛人和财宝汇聚的地方,无数狂野航海者的梦想之地。  

【东海鲛人】
  “东海鲛人,可活千年,泣泪成珠,价值连城;膏脂燃灯,万年不灭;所织蛟绡,轻若鸿羽;其鳞,可治百病,延年益寿。其死后,化为云雨,升腾于天,落降于海。”——《寻古店》

【鲛人的被发现】
  鲛人是否存在?
  黑鳞鲛人,这并不是首次发现,世界上已经有很多人发现人鱼的尸骨了,美国海军还曾捉到过一条活的,据说海中鲛人的油膏,不仅燃点很低,而且只要一滴便可以燃烧数月不灭,古时贵族墓中常有以其油脂作为万年灯的,东海鲛人其性最淫,口顖嗜血,都聚居于海中一座死珊瑚形成的岛屿下,那岛下珊瑚洞,洞穴纵横交错,深不可知,那里就是人鱼的老巢,它们在附近海域放出声色,吸引过往海船客商,遇害者全被吃得骨头也剩不下,有人捉到活的黑鳞鲛人,将其宰杀晾干,灌入它的油膏,制成长生烛,价值金珠三千。

【鲛人的现实原型】

  传说中的“鲛人”神秘而美丽,他们生产的鲛绡,入水不湿,他们哭泣的时候,眼泪会化为珍珠。鲛人不仅是个传说,他们很可能是生活在南海外岛屿上的居民,与中国有贸易往来,而且一位“鲛人国王”还客死山东,并在中国留下了后裔。

   唐李商隐《锦瑟》诗:“沧海月明珠有泪,蓝田日暖玉生烟”,千百年来让无数人倾倒。倘问此诗之义,最让人佩服的是梁启超的说法:“讲的什么事,我理会不着。拆开一句一句叫我解释,我连文义也解不出来。”(《中国韵文里头所表现的情感》)也就是说这种诗是“可望而不可置于眉睫之前也”的诗家之景,是只可以想象不可以当真的诗家虚文。读者只需品味诗美就是,不必非要问诗美的材质。

   虽然诗家虚辞“于理则无,于情则有”,但这两句费解的诗,却并非虚作张致,而是事出有典,利用典故作喻。西人把这种通过复杂的典故组合构成喻体的修辞法叫“形上比喻”。如同猜谜,解诗者需要对典故的各种隐藏意义都非常熟悉才可能解开谜底。“不屈不挠的博学”是读书人的顽疾。让我感兴趣的,是这诗上联中,沧海、月明、珠有泪三个意象,联系着传说中的“鲛人”。

   中国很早就有鲛人的传说。魏晋时代,有关鲛人的记述渐多渐细。在曹植、左思、张华的诗文中都提到过鲛人。传说中的鲛人过着神秘的生活。干宝《搜神记》载:“南海之外有鲛人,水居如鱼,不废织绩。其眼泣,则能出珠。”虽然不断有学者做出鲛人为海洋动物或者人鱼之类的考证,我个人还是认为他们是在海洋中生活的人类,其生活习性对大陆人而言很陌生,为他们增添了神秘色彩。

   鲛人的两种物产,世人视为珍宝。其一是鲛绡,任昉《述异记》载:“南海出鲛绡纱,泉室潜织,一名龙纱,其价百金,以为服,入水不濡。”其二是一个令人感觉心疼的叙述,说鲛人的眼泪能变成珍珠。杜甫《客至》诗讲到有朋友带给他一颗泉客珠,结果“缄之箧笥久”,“开视化为血”。珍珠是鲛人的血泪所化,但鲛人似乎把友情看得比珍珠要贵重。《太平御览·珍宝部二·珠下》引张华《博物志》:“鲛人从水出,寓人家积日,卖绡将去,从主人索一器,泣而成珠满盘,以予主人。”为表示小小的感谢,鲛人一下就送了一盘珍珠。所以有人谓鲛人不贵珠,因为眼泪不值钱吧。但如果从鲛人们的家乡盛产珍珠而不以为贵来说,更为合理。

   鲛人常常带着鲛绡在中国南方沿海地区和中国人做生意,他们也有自己的文字。唐人李颀《鲛人歌》云:“鲛人潜织水底居,侧身上下随游鱼。轻绡文彩不可识,夜夜澄波连月色。有时寄宿来城市,海岛青冥无极已。泣珠报恩君莫辞,今年相见明年期。始知万族无不有,百尺深泉架户牖。鸟没空山谁复望,一望云涛堪白首。”李颀诗中,鲛人是今年相见明年期的情深意重的好朋友,诗人对他们“百尺深泉架户牖”的海洋生活充满了好奇和向往。

   那么,鲛人究竟是哪里人呢?郭璞注《山海经》时谓“雕题国”人为鲛人,古音中,“雕题”与“鲛”可以互转,与海南岛的“黎”族也颇为音近。黎族很早就有发达的纺织技术,据说松江的黄道婆就是从黎族群众那里学到了纺织技术而被家乡人民尊为纺织神的。但黎族和大陆交往较早且频繁,并无过多的神秘可言。从鲛人一年甚至于几年才能来一次大陆判断,他们住得似乎比海南更远。而鲛人记述中的水底居住,也许就是指住处周围全是水,仿佛是在水下。综合这些因素,鲛人应该是住在南海外大洋上的小岛居民。从出产珍珠和方位上判断,今菲律宾南部的苏禄群岛人最为接近。

   苏禄人和大陆交往也很多。元人《大德南海志》、《岛夷志略》和《元史》中都记载苏禄人在南海岛居,其俗“男女断发,缠皂缦,系水印花布。”产珍珠,“色青白而圆,其价甚昂……有径寸者。”他们的珍珠是全世界最佳,他们的居所邻近出产色绢的爪哇。
【云荒异界】
1. 人首鱼尾,貌美善歌,织水为绡,坠泪成珠。发色深蓝,深碧色的眼睛。寿命是人类的十倍左右。奴隶主畜养鲛人,成年后便剖开鱼尾,分成两腿,以人形拿到东市西市上出售获利。  

2. 鲛人生下来之初没有性别,成年后性意识觉醒,身体产生变异分裂为男女,也有一辈子中性化的。至于性别的转折,取决于他们自身的意志。变身时间大约需要几个月到一两年,鲛人一生只能选择一次性别。  

3. 鲛人有“潜音”——就是超声波。本用于水下传讯,后征天军团利用鲛人傀儡这一特点,在战争中作为风隼之间的联络方法。所以我这里的鲛人,就是用来当“驾驶员+发报员+神风敢死队”的  

4. 鲛人生于海上,因此身体保持着绝对的“均衡”,心脏位于胸口正中。  

5. 鲛人的眼睛挖出来后经过加工,被称为凝碧珠,价值连城。  

6. 鲛人的基因是强势的,所以鲛人和人类的混血后代、将呈现鲛人的大部分特征,比如鱼尾和鳃。但是在细节上,比如发色和眼睛,混血儿有时候会和人类相同。 ——《镜》

7 ,鲛人珠是在它们的鱼尾中形成的。

Timeline of Games and Toys

4000 B.C. - 1760 

4000 B.C. A Babylonian board game is played that was probably an ancestor of chess and checkers. 

3000 B.C. First game resembling backgammon is played in Ancient Sumeria. Games similar to backgammon had probably been played by Egyptians, Greeks, and Romans for thousands of years. 
Stone marbles are first used in Egypt. Much later, glass marbles are popularized in the United States in the 1800s. 

2000 B.C. Egyptians begin to play a game that resembles modern-day checkers. 

1000 B.C. Kites appear in China. They have probably been flown since before recorded history. The first three-dimensional kite is invented in the 1890s by Lawrence Hargrave in Australia. 
Stone yo-yos begin to be used in Greece.

c. 300 B.C. Children in ancient Greece often play with horse-shaped figures with wheels. According to Greek legend, attacking Greek warriors hid inside an enormous hollow wooden horse to gain entrance to the city of Troy and end the Trojan War, around the early 12th century B.C. 


200 A.D. The first iron skates are used in Scandinavia. 

600 An ancestor of chess begins to be played. It evolves from an Indian game called Chaturanga. In the 15th century, modern chess pieces were finally standardized and the queen and bishop pieces acquired the powers that they hold today. 

969 Playing cards are first used in Asia. 

c. 1686-1705 In seventeenth-century Europe, dollhouses first gain popularity not as a children's toy but as a hobby for well-to-do ladies. One Dutch dollhouse, now on display in the Rijksmuseum Amsterdam, was painstakingly handcrafted and decorated for some 20 to 30 thousand guilders (the price real house in Amsterdam at the time). It featured miniature porcelain objects from China and was fitted out with furnishings of different types of wood, glass, marble, silk, velvet, and copper. After the Industrial Revolution, factories began mass-producing toys, and dollhouses become cheaper and more accessible to children. 

1759 Roller skates are invented by Joseph Merlin.

c. 1760 English mapmaker John Spilsbury pastes one of his maps to a board and cuts it in pieces along its borders, creating the earliest version of the jigsaw puzzle. The puzzles were used as a teaching device--for geography, history, and Bible studies--as well as for recreation. The first American jigsaw puzzles appeared around 1850; their popularity during the Great Depression, when companies manufactured cardboard puzzles that even the poorest families could afford. 
1800-1901

1800s Playgrounds begin to appear in American cities. The idea stemmed from the efforts of city reformers who were searching for more healthful play options for children in urban areas, where parks and yards were scarce. The playgrounds started off as "sand gardens," inspired by those seen by an American social worker while visiting Berlin. Financed by local businesses, city playgrounds soon included swings and see-saws. 

1817 Known in some form as far back as ancient Greece, the kaleidoscope is first patented by the Scottish scientist Sir David Brewster and begins to be sold as a children's toy. 

1840 The first American dollmaker is granted a patent and dolls begin to be mass-produced in America for the first time. Dolls are one of the oldest forms of toy, and have been found in Egyptian tombs dating back to 2000 B.C. 

1843 The Mansion of Happiness is designed by Anne Abbot and produced by W. and S.B. Ives in Salem, Massachusetts. It became the first board game sold in the United States. According to its rules, players performed good deeds to move forward towards eternal happiness, but move backward as punishment for cruelty, ingratitude, or other vices. 

1870 German immigrant Frederick August Otto Schwarz and his three brothers open a modest toy shop in New York City; it will eventually grow into the enormously successful F.A.O. Schwarz. 

1886 The first BB gun is created. Made for children, it scared many parents because it is actually a working gun that can cause injury. The BB gun was a descendant of the cap gun, which was invented soon after the Civil War, when some shotgun manufacturers converted their factories to make toys. Penny pistols and other authentic-looking toy guns also began to appear in the 1880s. 

1887 The speaking doll, which had first been invented by Johann Maelzel in 1820, is improved when Thomas Edison combines his phonograph technology with a doll, allowing it to speak. 

1896 A westernized version of the Indian game Parcheesi is introduced in England under the name Ludo. Parcheesi is a type of "cross and circle" game, which dates back to 300 A.D. and was played in the Korean, Syrian, and Aztec cultures.

Late 1880s Mah Jongg, which was named for a Chinese word meaning "sparrow," originates in the Ningbo area of China. Games resembling Mah Jongg had been played as long ago as 800. 

1901 At just 22 years old, Joshua Lionel Cowen creates a battery-powered train engine as an "animated advertisement" for products in a store's display window. To his surprise, customers are more interested in purchasing his toy train than the merchandise in the display. Lionel Trains is born.
1902-1940

1902 In America, toy bears begin to be called Teddy Bears" after President Theodore Roosevelt. In only a few years, Teddy Bear-mania swept the world, and by 1915 large-scale toy bear manufacturing was in full swing. 

1903 Edwin Binney and C. Harold Smith produce the first box of Crayola crayons. 

1913 Former Olympian (Gold, Pole Vault, 1908) and medical doctor A.C. Gilbert invents the Erector Set, a motorized toy made of steel parts that children use to build models of everything from Ferris wheels and skyscrapers to record players and microscopes. 

1914 Charles Pajeau develops a collection of rugged wooden toys similar to the Erector Set, but designed for younger children; he calls them Tinker Toys. Pajeau was inspired by watching children poke sticks into the holes of thread spools. 

1915 Johnny Gruelle, a newspaper cartoonist, begins to sell Raggedy Ann dolls based on one he had made for his daughter, Marcella. 

1916 John Lloyd Wright, the son of architect Frank Lloyd Wright invents Lincoln Logs, interlocking toy logs children use to build imaginative structures. Wright was inspired by the way that his father designed the earthquake-proof Imperial Hotel in Tokyo, Japan. 

1927 A tough, durable kind of plastic called polystyrene is invented. Although the first plastic, celluloid, was invented in the 1860s, polystyrene was the first type strong enough to really suit toy making. 

1928 The Mickey Mouse character is created by Walt Disney. Two years later, Charlotte Clark began making stuffed Mickey Mouse dolls, and Disney's legendary merchandising was born. 

1929 The yo-yo is popularized in the United States after entrepreneur Donald Duncan sees the toy being demonstrated in Los Angeles. Duncan bought a small yo-yo company for $25,000 and 30 years later sales of Duncan yo-yos reach $25 million dollars. 

1931 Alfred M. Butts, an unemployed architect from Poughkeepsie, New York, invents a word game called the Criss Cross Game. In 1948, Butts sold the rights to the game to entrepreneur James Brunot, who trademarked it under the name Scrabble. Scrabble went on to sell more than 100 million sets worldwide, including one to two million each year in North America alone. 

1935 Parker Brothers introduces Monopoly. By offering a way to "get rich quick" to Americans struggling through the Great Depression, Monopoly quickly becomes a bestseller, eventually attracting more than 480 million players all over the world. 

1938 Piano tuner and camera buff William Gruber is the mastermind behind the View-Master three-dimensional viewer, which is first sold only through photography stores. Later, after acquiring the licensing rights to all Disney characters, View-Master hit the jackpot, offering 3-D images of stills from Disney movies and TV programs and views of the Disneyland amusement park. 

Early 1940s Affordable, detailed model airplanes begin to be mass-produced. Originally designed to help manufacturers sell airplanes to the military, they begin to make practical toys with the introduction of plastic. Before plastic, models were made with balsa wood provided in kits. Otherwise, consumers had to cut their own wood pieces to fit a provided pattern.
1943-1960

1943 While searching for a suspension device to ease rough sailing on battleships, navy engineer Richard James discovers that a torsion spring will "walk" end over end when knocked over. James brought the discovery home to his wife, who named the new toy "Slinky". If stretched end to end, the Slinky toys sold since 1945 would wrap around the world 126 times. Despite their enormous success, Slinkys are still made in Hollidaysburg, Pennsylvania, on the same eight machines that James began with over 50 years ago.

1947 When a group of Minnesota teachers realize their attempt to make and sell garden tools is failing, they decide to use their extra materials to make toys. They named the toy trucks they create Tonka trucks, after nearby Lake Minnetonka. Fifty years later, they had sold 30 million of the miniature vehicles, and used up 120,000 gallons of paint on their signature yellow dump trucks. 

1949 Ole Christiansen , a Danish toy maker, begins to manufacture toy blocks with a new twist. Christiansen creates a plastic brick that can be locked together in different configurations. The Lego, named from the Danish leg godt, meaning "play well," was born. The continuing popularity of the Lego brick probably stems from its ability to stimulate a child's imagination--just six bricks fit together in 102,981,500 different ways. 

Eleanor Abbott designs Candy Land while recovering from polio in San Diego, California. Abbott designed games for child polio victims, and Candy Land's gingerbread-man game pieces, Peppermint Stick Forest, Gingerbread Plum Tree, and Gum Drop Mountain proved so popular with the children that Milton Bradley soon agreed to buy the game. Today, Candy Land is recognized internationally as one of a child's favorite first games. 

1950 Silly Putty is introduced at the International Toy Fair in New York. 

1952 Banking on the idea that children like to play with their food, Hasbro introduces Mr. Potato Head. In its original form, the toy only included parts--plastic eyes, ears, noses and mouths--and children were directed to use them to outfit real potatoes. Eight years later, the manufacturer Hasbro began including a hard plastic potato "body" and the modern version of the toy was born. 

Edward Haas brings the Pez mint dispenser to the United States. It was initially unsuccessful, but gained popularity after Haas changed the original lighter-like design by adding a cartoon head and replacing the mints with fruit-flavored candy. 

1954 Jack Odell creates the original Matchbox car when he makes a small brass model of a Road Roller and puts it into a matchbox so that his daughter could bring it to school. Today, 100 million Matchbox cars are sold each year. 

1956 At a Fourth of July family barbecue, Milton Levine dreams up the idea for the first Ant Farm, complete with live ants.
Play-doh enters the market as a wallpaper cleaner. Non-toxic and less messy than regular modeling clay, it was soon recognized that the cleaner made an excellent toy. The innovative product made Joe McVicker a millionaire before his 27th birthday. To date, 700 million pounds of Play-doh have been sold. 

1959 The Barbie doll is introduced at the American Toy Fair in New York City by Elliot Handler, founder of Mattel Toys, and his wife, Ruth. The busty blond doll--named after the Handlers' young daughter, Barbara--became one of the best-known icons of postwar American popular culture. 

Wham-O founders Arthur Melin and Richard Knerr begin to market the Hula Hoop, after getting the idea from a friend who saw schoolchildren in Australia twirl bamboo hoops around their waist for exercise. Melin and Knerr were actually reincarnating a toy that was probably used as long ago as 1000 B.C. in Egypt, and, later, Greece and Rome. In the first year of production, 15 million Hula Hoops were sold. 

1960 Ohio Art markets the first Etch-a-Sketch. They have since sold more than 100 million of these popular drawing toys. The Etch-a-Sketch was invented by Arthur Granjean in the late 1950s and was originally called L'Ecran Magique. 

In 1869, Milton Bradley invented a game he called The Checkered Game of Life. Its popularity launched Bradley's career in the game business. In 1959, executives at Bradley's company asked game inventor Reuben Klammer to come up with a game to commemorate Milton Bradley's anniversary. Inspired by one of Bradley's old Checkered Game of Life gameboards, Klamer designed the now-classic Game of Life, released in 1960.
1965-1977

1965 Stanley Weston creates a doll for boys based on a new television show called The Lieutenant. The doll, G.I. Joe, proved more popular than the TV series, to the surprise of many toy manufacturers who had assumed for years that boys wouldn't play with dolls. Interestingly, a female G.I. Joe doll introduced years later was a flop. 

1966 Elliot Handler, one of the co-founders of Mattel, Inc., invents Hot Wheels when he decides to add axles and rotating wheels to small model cars. His gravity-powered car with special low-friction styrene wheels reached speeds of 300 miles per hour. 

1969 Parker Brothers markets the first Nerf ball, a polyurethane foam ball that is safe for indoor play. By year's end, more than four million Nerf balls had been sold. 

1972 Magnavox introduces Odyssey, the first video game machine, featuring a primitive form of paddle ball. Other companies soon invested in the video game business and, by 1976 hockey, tennis, and squash were available. 

1973 Dungeons & Dragons is invented by Dave Arneson and Gary Gygax. The game created a whole new fantasy/adventure category of toys, which is now a $250 million market. 

1976 Nolan Bushnell sells his video game company, Atari, to Warner Brothers. Atari's popular Pong and Super Pong video tennis games soon gave way to a home video cartridge system that ran full-color games, from baseball to Pac-Man. By 1982, Atari was making $2 billion a year, but lost its business just as quickly through over-licensing. In 1983, Atari sent thousands of cartridges to Texas to be used as landfill. 

1977 Kenner Toys introduces a line of Star Wars action figures, capitalizing on the popularity of George Lucas's blockbuster film. They dominate the action figure market and set a precedent for popular toy and video game franchises based on movies. 
1980-1993

1980 Ideal Toys renames their Magic Cube toy Rubik's Cube after its inventor, Hungarian sculptor and architecture professor Erno Rubik. The multi-colored cube is now said to be the world's best-selling toy, and there have been some 300 million Rubik's Cubes (or imitations) sold worldwide. 

1983 A Japanese company, Nintendo, brings the Nintendo Entertainment System (NES), a home video game system, to the United States. With 52 colors, realistic sound, and high-speed action, it catches the attention of retailers who were initially skittish due to Atari's collapse. The NES, as well as the popular Super Mario Brothers and The Legend of Zelda game cartridges, were the top-selling toys for the 1987, 1988, and 1988 holiday seasons. In 1989, Nintendo released Game Boy, a battery-powered, hand-held video game system. 

1985 Artist Xavier Roberts introduces his Cabbage Patch Kids into the mass market. Roberts first designed the dolls in 1977 to help pay his way through school. Cabbage Patch Kids became the most successful new dolls in the history of the toy industry. Although more than three million of the dolls were produced, supply could not keep up with demand, and doll sales for all of 1985 totaled $600 million (or more than $1.1 billion in 2005 dollars). 

1986 Rob Angel, a 24-year-old waiter from Seattle, introduces Pictionary, a game in which partners try to guess phrases based on each other's drawings.

1987 Engineer Scott Stillinger invents the Koosh Ball in an effort to teach young children how to catch. He tied rubber bands together to make a small, easy-to-catch ball. The name "koosh" comes from the sound the ball makes as it lands in a person's hand. 

1993 Toy inventor H. Ty Warner begins to market understuffed plush bean bag toys called Beanie Babies. The toys are designed to be inexpensive so that a child could purchase them. Warner began with nine Beanie Babies (a dog, a platypus, a moose, a bear, a dolphin, a frog, a lobster, a whale, and a pig). The toys were not an instant success. It was only after the first eleven Beanie Babies were retired in 1996 that they became a collector's item. -- An estimated 100 million Beanie Babies are sold in 1996 alone. 

Mattel announces it will be merging with Fisher-Price, creating a $2.5 billion corporation that will rival the leading toy manufacturer, Hasbro. Barbie, Fisher-Price, Disney toys, and Hot Wheels make up 85% of Mattel's sales. 

Mortal Kombat becomes the most popular title in the fast-growing home video-game market. 
1994-2007

1994 Sales of the Mighty Morphin Power Rangers action figures top $400 million in the U.S. alone. The Japanese toy company Bandai Co. released the figures to accompany the repackaged U.S. version of a long-running Japanese live-action TV series. 

1996 The bright red Tickle Me Elmo, based on a Sesame Street character, arrives in stores, causing the Christmas shopping crowds to multiply as parents rushed to get the year's "it" toy. Elmo reacted to a child's touch, first chuckling and eventually laughing hysterically when squeezed repeatedly. 

1997 The online retailer eToys.com launches, quickly becoming one of the most popular and fastest-growing cyber toy shops. In addition to toys, the site also included books, videos, computer software, and video games in its inventory.

1998 Debuting in October, the furry "pet" called Furby--animated with six built-in sensors that allowed it to react to movement, light and darkness, and touch--begins selling out as soon as it hits the stores. Furby's range of responses included opening and closing its eyes, wiggling its ears, and speaking a number of phrases in English and "Furbish". Online, crazed consumers were soon offering up to $200 for the $30 toy. 

1999 The collectible card trading game based on the Pok茅mon video games becomes the newest success of the franchise, launched in America by Nintendo in 1998. In an attempt to replicate the way the video game is played, each Pok茅mon card had individual strengths and weaknesses, and players attempted to "knock out" each other's cards in order to win. 

2000 Selling for around $100 retail, the Razor Scooter becomes the top-selling toy of the year. The lightweight aluminum scooter's popularity began in cities like New York and Los Angeles, but soon swept the country, and more than 5 million were sold within a year of its debut. 

Sony launches its new video game console, the Playstation 2. Despite competition from Sega's Dreamcast, Nintendo's GameCube, and Microsoft's Xbox, the Playstation 2 becomes the fastest-selling game console in history, with more than 106 million units shipped worldwide by the end of 2006. 

2001 Squishy, battery-powered Jumbo Music Blocks become a popular toy for babies and young children. The large foam blocks featured music, secret pockets, and interactive activities that helped children learn the alphabet and improve motor skills (by working zippers, snaps and buttons). 

M.G.A. Entertainment releases the first four Bratz dolls. With their skinny bodies clad in trendy, provocative urban fashions and their big heads and pouty lips, the anime-like dolls quickly became a sensation, outselling Barbie in several countries around the world. 

2005 The Ganz company releases a new line of plush toys called Webkinz, which quickly start a trend that is compared to the Beanie Babies phenomenon of the 1990s. Using a special code included with each toy, children could log on to a Web site that allowed them to "adopt" their pet and virtually interact with it. 

2006 The next generation of video game consoles is represented by Microsoft's Xbox 360, Sony's Playstation 3, and Nintendo's Wii. The video game industry has grown to generate some $13 billion in revenues per year.

A History of Board Games: When Did Game-Playing Start?

One can well imagine that games have been played throughout human history, beginning as soon as there was a moment of leisure time not devoted to survival -- and as soon as communications between individuals got beyond the basics of conveying elementary needs and movement, into the realm of intention and ideas. It's a fact that games are played between babies and their parents from the first months of life, beginning with peek-a-boo and pat-a-cake and working up to hide-and-seek just as soon as a toddler is mobile. Games seem to be part of our nature, probably because they serve a useful purpose (learning skills like strategic thinking) all the while being fun.

The broadest definition of games has to begin with such simple baby entertainments (which note: serve to exercise the infant mind in understanding that things that vanish aren't necessarily gone -- and exercise a body and develop coordination and rhythm) and extend through sports to strategy games of all sorts, and even include the games of "make believe" played by friends and siblings in the back yard on nice summer days -- which mature into modern role-playing games that combine elements of imagination with those of luck (roll of the dice) and strategy and rules.

But here we concentrate on board games, which are defined as any game played primarily on, but sometimes just near, a board of some kind.


The Earliest Board Games

The oldest complete board game found thus far is "The Royal Game of Ur" -- which was discovered in 1926-1927 by Sir Leonard Woolley in royal tombs in what is now Iraq -- dating back to more than 2500 B.C.E. The ruins are of the city-state of Ur which once housed Abraham, so we can imagine that this game may have been played by people whose tales are told in the Bible. Among the wonders found within the tombs were four boards of the same basic design representing one game that was played by many classes of people in that society -- ranging from simple to richly worked pieces. It's not known whether UR was the first board game ever played but it's ancient enough that everything before it is pretty much guess-work. 



The mancala family of games -- in which stones are moved about holes arranged in two (or more) parallel rows on a board -- probably originated with seeds or beans played in holes scooped in the dirt (an extremely easy-to-make game for farmers on a lunch break) -- which then evolved into a board game -- about the time folks got tired of scratching holes in the dirt. There are so many variations of mancala that it has to have been around for thousands of years and, likely, goes back further. Rows of holes have been found carved on slabs in ancient structures in Egypt, even in the pyramid of Cheops, that look remarkably like mancala game boards. Saharan remains that date back 3000 years look like mancala boards, too. Richard Leakey found some boards with two rows of thirteen holes in Kenya, that he dates to Neolithic times. Some of these may be ancient calculators but undoubtedly some are early forms of the game.

 

Ancient Games Begin In China: Wei-qi (Go)

The Game of Go ("Wei-qi" in its original Chinese form) enjoys a special place in board game history, because not only is it one of the oldest games known, it has kept essentially the same rules for longer than any other board game out there. After its origins in China perhaps as far back as 2300 B.C.E., Wei-qi spread into Korea in the second century (where it was called Pa-tok, now Baduk or Badug), and finally, when it traveled to Japan via trade routes sometime around the year 700 A.D. -- it developed into a most sophisticated game unlike just about any other class of games -- and the rules have not varied significantly since that time.

Because Go is really a game about capturing territory, it falls outside all the usual classifications of games: alignment games, war games, capture games, hunt games, race games -- though it has hints of some of these in it. Though capture is a part of Go, and it is often considered a war game, capture is just one aspect, and it is not so much about aspects of war (generals and soldiers and war equipment) as it is about defining who owns what spaces on the board. The pieces have no differing powers at all -- they simply serve to mark the borders of territory.



Another Chinese Game: Mah Jongg

Mah Jongg is said to have originated in the Tang Dynasty in China -- about 4000 years ago. Whether its original form was paper (cards) and it later moved onto tiles, or whether it began as tiles (or wooden planks) and cards later developed from it, most of the length of its early history has been recorded as being limited to the aristocracy -- the rules were kept secret until China became a republic early in the last century! It is very likely that the earliest versions of the game would bear little resemblance to the game as played today.

Only in 1920 did it step outside its country of origin and spread, first to the United States and then around the world.

Strongly resembling the card game "Rummy" -- true Mah Jong is a game for four players (and bears little relation to the dull but mesmerizing solitaire version often found on computers, sometimes called "Shanghai"). 



Dice Games, Race Games

Certainly one of the oldest forms of gaming, in general, has to be "lots" played with dice. The earliest form of die seems to have been a binary -- quite often using the small end of a branch of a tree, cut in half so that when thrown it ended either round or flat side up (as seen in the game of Senet; see below). The interesting thing about binary dice is that the odds on a throw of the more extreme numbers (one or six) are very different than they would be using the modern, traditional, six-sided die. With a six-sider you have an equal chance of rolling any number (one in six). But using five of the stick-dice to get six different result (one flat, two flat, three flat, four flat, five flat and no flat would equal six) there are so many different ways of coming up with a 2 or a 3 (ten different ways each), and a fair number of ways to come up with a one or a four (five ways each) but only one way of coming up with a five or a six (all flat up or all flat down) -- which is why in ancient games based on binary dice you'll often see the very rare throws greatly rewarded, with extra distance on moves and a free throw, too.

Dice were later made out of bones and were called "astragals" -- usually made from the knuckle bones of sheep or goats which, when rolled on a hard, flat surface, would land in one of four ways -- customarily valued at 1, 3, 4 and 6. These would certainly have been used for gambling, and it is not a long step from the throwing of dice to the need for some way to keep score -- which is likely where the earliest of race games came from. 

The simplest race games are just that -- a board with spaces and a marker to move along it, and dice to tell you how far to move. Such a game may entertain a child for a little while but one quickly realizes there is no skill at all involved (except perhaps in the throwing of the dice) and no strategy.

The next introduction to race games would have been helps and hazards (as with Snakes and Ladders) themed in a way appropriate to whatever game you're playing. Still not a very challenging game though.

Adding more complications makes the game more interesting, so next we allow the players more than one piece -- so they can choose which to move -- and the ability to bump each other off the board. Add a few "safe" spots and keep the other hazards and helps and we now have a game suitable for adults.

The Ancient Egyptian Game of Senet

One such very early game is S'n't -- lately known as "Senet" or "Senat". This very early board game was found in many ancient Egyptian tombs -- both of pharaohs and workers. A magnificent board was found buried with Tutankhamen. 

In this game of 30 squares set in three rows of 10, both player's pieces enter the board at one end of a row, proceed to the end, turn and go back down the middle at the end of which they turn again, drop to the final row and go back -- the object being to bear off all your pieces before your opponent does. Special spots on the board represent death and being turned away from the afterlife -- and rebirth to try again. The heiroglyph representing a Senet game is found honoring a king -- and dates back to 3100 B.C.E. -- and if the game was known and respected then, it must be older still.

Mario Kart Wii Review (from GS)

Mario Kart Wii offers varied multiplayer and thoroughly integrated online modes that will keep you coming back for more.

Pros: Huge number of courses, including some of the most imaginative yet • Deeply integrated online play • Easy to jump into for players of any skill level • Fun and strategic trick system • Motorcycles provide a great alternative to go-karts
Cons: Nostalgia doesn't save most of the classic courses from being boring • Items are more unbalanced than ever, especially on new tracks • Battle modes are now exclusively team-based and timed

One may wonder why Nintendo would add motorcycles and dirt bikes to the game series that popularized, if not invented, the genre of weapons-based go-kart racing. If you're one of the fans who balked at the inclusion of two-wheeled vehicles, a midair stunt system, and motion controls, rest assured that despite these changes, Mario Kart Wii is still very much the game that you have come to love over the years. But even if you haven't been on the receiving end of a blue shell before, the extensive multiplayer options, deeply integrated online functionality, multitude of controller schemes available, and simple gameplay make this latest Mario Kart great fun and quite possibly the most accessible one ever. 

The main event of Mario Kart is the Grand Prix mode, which in this version pits you against 11 other computer-controlled competitors in a race to the finish on a four-course cup event. Grand Prix lets you select from three different engine sizes/difficulty settings, and there are initially four cups available, with four more that are unlockable by conquering their predecessors. This makes for a total of 32 different courses, of which half are brand-new for the Wii and the rest remastered versions of classic stages from previous games. This combination of both new and old provides a solid mix of novelty and nostalgia, but overall, the stylistic differences highlight two of the game's greatest flaws. 


Waluigi Stadium is just one of the returning tracks, and unlike some of the other classic tracks, it looks and plays better than ever before.


One of the major new features is the midair stunt system, which is activated by flicking the Wii Remote at the very moment you leave the ground from a ramp-assisted jump, making your racer perform an extreme-sports-style trick, such as a 360-degree spin, which upon landing rewards you with a considerable speed boost. To facilitate this new mechanic, most new tracks include huge half-pipes, rampant ramps, a multitude of moguls, and a plethora of pits, all of which are deliberately placed to encourage extensive stunt work. While this new system itself isn't flawed and in fact injects a great deal of fun and new strategy into the gameplay, its influence on course design has made certain items even deadlier, as you're that much more likely to be blasted uncontrollably into lava or other hazards due to how much time you spend in the air. 

The second major track-related issue is that the classic courses, while they've never looked better, are much less engaging than their counterparts. While the newer tracks are wild, crazy, and may even change dynamically as Grumble Volcano or Dry Dry Ruins do, the older courses are their polar opposite and are with few exceptions flat, empty, wide-open, and pit-free. Though you may find the occasional ramp or half-pipe haphazardly bolted on to make it play a teeny bit better with the stunt system, it generally seems like Nintendo deliberately decided to make you choose which was more important: stunts or a slightly better item balance. This dichotomy of level design creates a tenuous balance of play styles and is inelegant at best. 

Mario Kart Wii includes the standard batch of items that players have come to expect, including mushrooms, starmen, fake item boxes, shells, and more. New items include the thunder cloud, which will automatically shrink you after several seconds unless you ram someone to pass it off onto them; the POW block, which temporarily stuns everyone ahead of you and makes them drop their items; and the mega mushroom, which makes you grow super large for a time to flatten other racers beneath your tires. While it's pretty much a guarantee of the Mario Kart experience that no one can stay in first forever, some of the more powerful items such as the blue shell, lightning bolt, and POW block appear absurdly often. It's not uncommon to be hit by several of them in a row or even simultaneously if you're in first place. 

Much like Super Smash Bros. Brawl before it, Mario Kart Wii includes support for every possible controller configuration under the sun. The game comes packaged with a steering wheel controller shell that allows you to take full advantage of the Wii's motion-sensing abilities for what is perhaps the best purely tilt-driven control scheme available on the market. Though it does take quite a bit of time to get used to, the steering wheel feels quite natural and is very responsive. However, if you're not exactly up to the task or prefer the touch of an analog stick, the Wii Remote with Nunchuk, Classic Controller, or GameCube Controller schemes work just as well, with the directional pads on the more traditional controllers nicely substituting for remote-waggling. 


Bloopers are back and far more dangerous without the separate map screen of the DS version.


Though the fundamental Mario Kart experience has remained generally the same, there are several changes that can greatly impact gameplay. Drifting mechanics in particular have changed dramatically, both to make it easier to perform for beginners and as a countermeasure against the controversial technique known as snaking (continuously mini-turbo boosting on a straightaway). Mini-turbo boosts are no longer performed by wiggling the analog stick. They are instead determined by the amount of time spent in a drift, and in fact can't be done at all in automatic mode. The type of vehicle you select also affects how drifting works, as go-karts have the ability to super mini-turbo boost by drifting around a turn a bit longer than normal. Motorcycles can't do this, but they can pop wheelies for extra speed on straightaways at the cost of impaired turning and increased susceptibility to ramming attacks. It is worth mentioning that while snaking is still possible to perform--especially on wide and open avenues-- it is no longer as viable or even as helpful as it once was. 


Besides Grand Prix, Mario Kart Wii also includes Balloon Battle and Coin Runners battle modes, which take place on 10 separate arenalike tracks, five of which are new and the rest brought out of retirement. Both of these modes have been changed to two team-only events, which is a disappointment to say the least, but they are still fun and entertaining alternatives to standard racing. Split-screen multiplayer allows up to three friends to join you in Grand Prix or battle. Using Nintendo Wi-Fi Connect, you can play online matches with up to 12 total players with a maximum of two per system. 


Four player split-screen can get wild and crazy, especially in the battle mode arenas.


Online integration is deeper than most other games on the Wii, and you can join matches of any game type with friends as well as strangers from your local region or across the world. You have a persistent score, which is either increased or decreased by your performances, and when seeking out matches you're automatically place with like-skilled opponents revealed on a representation of Earth that uses Miis to show the approximate locations of the competition. In the event that you join a game already in progress, you will automatically be placed in a spectator mode until the round finishes and it's go time. Communication between players online is still virtually nonexistent, but while the ability to smack talk is a vital element of local multiplayer, it's not necessary for facilitating matches. 

The most interesting online feature of Mario Kart Wii is the Mario Kart Channel, which can either be launched from within the game or saved directly into your Wii dashboard. Using WiiConnect24, you can compare your best lap times against your friends' and the rest of the region or the world. You can also download ghost replays to see firsthand how the top players pull off their times and send your own ghosts to friends as a challenge, and if this channel has been installed in the Wii menu, you can even do all of this without having your Mario Kart disc in the system. 

Mario Kart Wii features a cast of 25 characters, over half of which must be unlocked through various accomplishments in single- or multiplayer modes. The ability to race as one of your Miis is perhaps the most notable new feature, but as great as putting Chuck Norris or Dr. Gregory House behind the wheel is, some of the newcomers like Baby Daisy and Dry Bowser are underwhelming and disappointing. Unlike Mario Kart: Double Dash, characters don't have items specific to them, but they do have up to 12 personalized motorcycles and go-karts to select from to determine racing stats. 

Graphically, there isn't very much of a leap between this latest Mario Kart and its predecessor on the GameCube, but there are a lot of little details that add to the experience. Crowds of onlookers are populated by your Miis, and posters or statues throughout the levels can feature them as well. Lighting is vastly improved, and there are a number of nice environmental effects. Electricity crackles around you after you've been blasted by a lightning bolt. However, there is a considerable degradation of graphical quality in split-screen multiplayer--especially with four players--and character models are unnaturally shiny. 


Letting a baby participate in a go-kart race is bad enough, but putting her on a dirt bike is just plain irresponsible.

The musical selections, just like the tracks, are a mixture of old and new, and item sound effects are just as they have always been. Characters, as typical of Nintendo games, only say about four or five different phrases, but these become incredibly grating over time because they say them more often than ever before thanks to midair tricks. 

Super Mario Kart may have originated way back in 1992, but 16 years later, Mario Kart Wii proves that the franchise is just as relevant and fun as ever. The all-new stunt system, simplified drifting mechanics, natural motion controls, and expansive online integration all come together in a single package that, despite a few hiccups, is one of the best and most accessible experiences available on the Nintendo Wii.

Bomberman Live Review (From GS)

This game has a short offline fuse, but is a blast to play online or with friends.

The Good

  • Fun and easy to play.
  • You can take three friends with you online.
  • Runs well online, with nary a hiccough.
  • Multiplayer is a blast.

The Bad

  • Not fun to play by yourself.
  • Doesn't  take many new chances.

Lots of classic games have been returning to our TV screens lately with mixed results, thanks to the advent of services like Xbox Live, Nintendo's Virtual Console, and the PlayStation Network. Not all of these old series have passed the test of time. Hudson's Bomberman, however, is a perfect student of modern gaming. This new version of the old classic doesn't just capture the series' antique essence; it actually makes more sense now as a casual online multiplayer game than it did in the late eighties when it exploded onto Nintendo Entertainment Systems everywhere. The only downside is that it's utterly boring to play by yourself, but considering that this game seems tailor-made for multiplayer action, that's perhaps understandable. 

If you aren't familiar with Bomberman, it's pretty easy to understand. The game is played from a top-down perspective on a battlefield full of blocks--some destructible, some not. You run around planting bombs, collecting power-ups, and blasting your friends or foes. To drop a bomb, you simply hit the A button, and then get out of the way. This is usually pretty easy, since - power-ups notwithstanding - bombs only explode in two dimensions--vertically and horizontally. However, this gets a lot trickier when eight players are dropping them all over the board, especially since the bombs tend to increase in power toward the ends of matches, when all the players have collected bevies of power-ups. If a match lasts more than two minutes, the screen is quickly covered by dropping blocks that wall the remaining competitors into an ever-smaller space until only one remains. 


There are no friends in Bomberman Live, only enemies in disguise.


That's all relatively old hat for Bomberfans. The neat features in Bomberman Live include a variety of game modes, customizable match options, and of course, the online play. The game modes all have names like Lost World, Ghost Town and Big Top, but tend to simply orbit around some type of power-up or booby trap. The most creative of these is Plunder Isle, where a huge collection of power-ups wait in the middle of the arena for someone to bomb their way in and collect them all, giving that player a huge advantage. It's a fun idea, and it distinctly changes the way the game is played. Other modes, however, don't do so much, and it's kind of disappointing that Hudson wasn't a little more ambitious with its level design. 

Then again, the developer probably wanted to keep things simple to make the game more accessible for casual online gamers, and in that regard, it succeeded. The game is accessible, fun, and great for online play as well as local play with up to three friends. But best of all, you and your buddies can go online together and take on a world of competition, all from the comfort of your living-room sofa. You read that correctly: If you have three friends at your house, you can all go online at once and challenge up to four other players in some truly hectic bomber-matches. Online games are easy to get into, and come in Ranked or Player matches of the Battle (single series of games) or Tournament (multiple series) variety. A neat option is called Revenge, where players who die can then run around the outside of the arena tossing bombs in. If they kill someone, they get to take that person's place in the game. This is a good idea because it keeps everyone involved. Features like Revenge, the falling blocks that end matches, and power-up selections are all options that can be toggled and toyed with when setting up a match. In this regard, one Bomberman Live match can seem fairly different from another. But as with the match types, Hudson could have been more creative with the match options, especially since this game is so versus specific. 

These aren't the only customizable features - you can also customize your Bomberman with things like cowboy hats and tutus. While the options aren't as deep as we'd like, customization is always welcome, and there may be more options in the future. The production values are also fine, with simple, smooth-running graphics and upbeat, unobtrusive music. The game never seemed to slow down or lag for us in any match we played, and that's critical, because timing is a major part of the gameplay. The Xbox Live Vision camera is not a major part of the game, though, in spite of the fact that it will take your picture and broadcast it to your rivals at the end of each game. This sounds cooler than it looks. The pictures tend to be small and grainy, and you still can't really see the people your facing. Still, you can't blame them for adding it. 


A player grabs all the power-ups at once as his friends watch helplessly.

If there's any umbrage to be taken with Bomberman Live, it is the lack of interesting things to do offline. The dynamism of online opponents is what keeps the game fresh and ever-changing, but if you aren't an online gamer, the simple gameplay, lack of progression, and dimwitted artificial intelligence will entertain you about as long as it takes to set off a firecracker. If you don't mean to play against other people, Bomberman Live will be a dud. But if you are competitive and love to have friends over for beer (real or root) and gaming, this ten-dollar game (800 Live points) will give you plenty of bang for your buck.

Nintendogs: The case of the non-game that barked like a game

My beautiful lass recently borrowed a copy of Nintendogs from a friend (Thank you Porter!). This title has been burning up the charts in Japan and managed to get a perfect score in Famitsu magazine, a feat matched by only 4 other games in history. Why is it so successful and what can we learn from it as game designers?

This is a game design review, not a game review. A game review typically is written for the consumer and is intended to help them decide if they want to purchase the title. A game design review is written for other game developers and is intended to highlight successes and failures of the various layers of the game design. The hope is that we learn from the successful design practices and apply them in an intelligent fashion to our future titles.

Not a game?
The first thing that arises whenever someone talks about Nintendogs is the claim that it is not a game. "Dude, it is just a stupid Tamagotchi clone with dogs!" Such a vehement response is indicative of a larger trend in both the designer and gaming community. Unfortunately, it is a trend that has its roots in a fundamental misunderstanding of game design.

To generalize, there are two camps of designers in the world 
Craftsman designers: Craftsman designers look at existing titles on the market and build up these to create improved titles. Craftsman designers are always hardcore game players with intimate knowledge of their preferred genre. Craftsmen know details, but fail to see deeper patterns. 
Theoretical designers: Theoretical designers looks for common elements across all game genres and builds their designs from these fundamental parts. Where a craftsman designer might say "My FPS (First Person Shooter) needs a double shot gun to replace the single shotgun", a theoretical designer might say "Player enjoyment is dropping at this point, so we need to add a new risk/reward schedule." 

The craftsman definition of a game.
Each of these two groups looks at a title like Nintendogs in very different ways. A craftsman designer classifies a title as a game if it fits into a pre-existing category. Is it a RTS game, a FPS, an adventure game, etc? 
Is the game title part of a pre-existing genre?
If so how does that title compare to my personal enjoyment of other games in that genre?

This method works well when you operate within well defined genres (as is the case with most hard core gamers.) It breaks down when a title doesn't fit into a pre-existing genre. They'll still apply the same analysis, but generally end up shoe horning the title into a genre that is a poor fit. 

There is nothing on that market that compares to Nintendogs. If you dig into the game mechanics at an abstract level, it has surprisingly more in common with a RPG than most virtual pet games. Yet hardcore gamers make a snap judgment and instantly assume it must be a Tamagotchi-style game. This is an unfortunate mistake that limits our understanding of the game design. 

The theoretical definition of a game
The other way of looking at it is to look for the key elements that make up any game. 
Are there psychological risk / reward systems?
Are there overlapping reward cycles on different timescales?
Can the game design be classified into standard game design elements such as tokens, verbs and rules?
Can the various layers of the game design be separated out so that the title can be examined in terms of core mechanics, metamechanics, contextualized tokens, plot, etc?

Nintendogs has clear game mechanism in each of these areas. There are clearly specific elements throughout the game that match existing game system that have been used throughout the history of game design. The theoretical designer realizes that a powerup is a powerup whether you call it a 'Quad Damage' or a 'Doggy Brush'. 

To get this point across, let's look at Nintendogs by identifying the various game play elements that make it such an addictive experience and then compare those to the same mechanics used in other genres. 

Overall Structure
Nintendogs follows the path of many successful titles. You start out with a novice character and through a variety of challenges and adventures, you grow the character in strength and power. Along the way, you gather treasure, gain new abilities and discover far away places. 

In Nintendogs, it just happens that your character is a puppy and the world you are exploring is the city around your house. The battle sequences where you gain experience are dogshows. The powerups you get a hair care products and doggy snacks. Strip away the setting and plot of Nintendogs and you are still left with an innovative title, but it is one that bears more than a passing resemblance in structure to many other games. 

This big structure is composed of smaller elements
Core mechanics: Layers of risk / reward activities
Meta Mechanics: Additional activities that tie together groups of core game mechanics. 

Core Mechanics: Learning tricks
The primary activity you do with your dog is tell it commands and pet it. The first level of risk / reward cycle goes something like this: 
Action: Say a phrase in a clear concise manner.
Reward: The dog responds with an attractive animation. 
Example: Say "Lucky!" and the dog comes up to you. Say "Sit" and the dog sits. 
Comparisons to other titles: In a fighting game, you hit a button with specific timing and it kills an enemy. The enemy crumples to the ground in an attractive animation. For Nintendogs, voice is certainly a fun new control mechanism, but in many ways it is no different than hitting the attack button in the fighting game. From a game mechanics viewpoint, pressing a button that means 'sit' is identical to saying 'sit' and having a voice recognition sub-system return the value 'sit' to the game. 

The second level of risk / reward cycle builds on the first. 
Action: Once you have gotten the character to perform a 'success' animation, you can now rub your stylus on the dog.
Reward: The dog plays an additional success animation, and gains 'happiness' 
Example: After the dog sits, you can pet the dog and he arches his back contentedly. Pet long enough a sparkle appears that states you have improved your dog's happiness. 
Comparisons to other games: In our fighting game, the dead enemy drops a heart. You need to run up to the coin and collect it, thus improving your 'health'. The meter that records your dog's happiness and the meter that rewards your character's health serve nearly identical purposes despite their very different names. 

The third level of risk / reward cycle adds an additional layer. 
Action: Periodically, the dog will perform a new action. You can enter into a minigame in which you must say a particular phase associated with that action over and over again. 
Reward: The dog plays an additional success animation, and gains a new ability that will let you take on additional metagame challenges. 
Example: During petting the dog rolls over on it's back you are presented with the option to train it to do the 'rollover' command. You say 'rollover' repeatedly until the dog understand what you are saying. Music plays and your dog learns a new trick. As a higher level reward, this is immensely satisfying. 
Comparisons to other games: In our fighting game, the character fights their way past a boss enemy (think Megaman). At the end battle, an animation plays and you gain the 'Ice attack." Woot! 

Metagame: Competitions
Once you've gained a few skills, you can participate in dogshows. Think of this as a game of Simon. You must perform certain actions within certain time limits. If you succeed, you win money that can be spent on additional goodies and powerups. 

There are a variety of other competitions ranging from agility contests to Frisbee tossing events. These events help put your skills to use and provide a clearly defined set of challenges for goal oriented players. The 'win challenge stage, get money' is a system found in most games. Just because it involves a puppy doesn't mean you aren't dealing with old school proven game mechanics. 

Metagame: Walking your dog
Walking your dog is very similar to the overworld in a typical RPG. This how you discover new places such as training courses and special encounters. 

One innovation that Nintendogs adds here is that the distance you can travel is dependent on the strength of your character. This creates a challenging mini-game. Given a limited amount of energy, what path exists through the city that lets your dog hit the maximum number of bonus points and special areas? This is a minor variation on the Traveling Salesman problem that most computer science students run into in their undergraduate courses. There is no easy solution to this class of problem, which makes it a constant challenge. 

The special points on the map are randomly generated so the player is required to come up with new routes each time. This helps prevent burn out. Also, there is an explicit 30 minute timer in place that reduces the rewards if you play this section too often. 

Other game systems
There are numerous other common systems involved in Nintendogs. 
Random reward schedules: When your dog brings you a present, it can be something good or something useless. By having intermittent reinforcement, the designer maintains the enjoyable addictive nature of the reward for a longer period of time. 
Sandbox Levels: The interior area that you start out in acts as a sandbox area for introducing new actions (like the Frisbee). When the goal oriented challenges appear, the player is already trained in the basic use of their character's abilities. 
Time penalties: When you don't play for very long, your character loses some of it's powerups. The dog gets dirty, hungry and thirsty. 

Everywhere you look are standard game design techniques. The initial structure of the game, how skill are introduced and then used in challenges, the entire broader meta-game that drives the player forward...all these can be found in great games going back decades. Nintendogs is a good game because it has a solid game design, not just because older Japanese women like dogs. 

However, the reason Nintendogs is a great game is because older Japanese women like dogs. Nintendogs is also a glorious example of game anthropology at work. 

The game anthropology of Nintendogs
A solid game design is one piece of a successful game. However, a successful break out design needs to also identify an unmet need in the society at large. 
Game Anthropology: Game anthropology is about watching how ordinary consumers go about their lives; what sort of things do they do, what do they want to do, how do they use the things they have? Amidst all this, what opportunities exist to play games? 

It turns out that Japanese folks love dogs, but due to their cramped apartments they are rarely able to own them. Every child dreams about owning a dog, yet very few ever will. There are actually dog renting services that let you walk a dog just for a little while so you can capture the thrill of pet ownership. 

The designers of Nintendogs recognized that if you can build a game that lets people experience the joys of owning a dog you can tap into a market rarely touched by traditional games. This is a very different thought process than "Let's make a game like X except better". Instead, it requires game designers to go out in the field and understand how games an be applied to broader trends in their culture. The designer of Nintendogs asked the simple question "How do games apply to the world outside of me?" 

Such big picture thinking that is utterly alien to people who think of games as the sole domain of elite geeky guys. The good news is that people who successfully apply the techniques of game anthropology are rewarded beyond their wildest dreams. 

Conclusion
Nintendogs is a game that get two key elements right: 
It addresses a niche need within the broader culture that is highly underserved. 
It understands game design theory well enough to build an original new game experience out of proven game design techniques. 

Kudos to the theoretical developers behind Nintendogs and their mastery of the game design process. Anyone who calls themselves a game designer should pick up the title when it comes out in English. It is a perfect case study of how to build a highly innovative game that achieves impressive market success. 

Ignore the fools who claim that it isn't a game and dismiss it's success as a random chance. The myth that game designers must be derivative to be successful is fundamentally false. Creating successful innovative games like Nintendogs is wholely a matter of hard work and a deep understanding of the game design process. The phenomenon of Nintendogs is completely reproducible if we heed its design lessons. 

take care
Danc. 

PS: There is one poor design choice in Nintendogs that I wanted to call out. Time penalties for not playing are a horrible way to encourage people to start playing. The person may feels obligated to play but games should not be a guilty activity. I much prefer systems like those found in World of Warcraft that give the player bonuses if they return after not playing for a while. The player feels "I haven't played in a while, but if I play now I'll get something good!" 

Time penalties can backfire on the designer. Often, the player assumes that their work has decayed so far (the dog has forgotten words, etc) that it is simply not worth playing again. The player who has fallen off the wagon feels "I am so far behind now, why try?"