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#1 Iolo Creates BuyPass To Manage Your Passwords » IPX-TC1-RK1 is a 1RU Dual Rack Mount Kit for IPX-TC1 Units » 2020-09-06 18:04:03

Replies: 0

Mounting rails for use with IPX-TC1 and IPX-TC2 Rack Mount Kits IPX-TC1-RK1 and IPX-TC1-RK5.
IPX-TC1-BLK                                         Blank plate for use with IPX-TC1 and IPX-TC2 Rack Mount Kits IPX-TC1-RK1 or IPX-TC1-RK5.
Details                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                         IPX-TC1-RK5 is a 5RU Rack Mount Kit that holds 12 IPX-TC1 Units.
Includes 24 rails and 6 blanks.
IPX-TC1-RK1 is a 1RU Dual Rack Mount Kit for IPX-TC1 Units.
Comes with one blank for single mounting and 4 rails.
The IPX-TC2 provides one of the most advanced IP Streaming solutions on the market utilizing Aurora’s IPBaseT® technology, which synergizes various IP/AV standards to work together as one.

Aurora Multimedia Corp.205 Commercial Ct.

Morganville, NJ 07751  Voice:   Fax: 732.591.5801.
© 2019 Aurora Multimedia Corp.
All Rights Reserved.

#2 WellColl Groep zoekt een lease professional, met “service hoog in het vaandel” » ReAX™ server-side operations is based on JavaScript™ » 2020-09-06 18:02:28

Replies: 0

ReAX™-CoreStudio Software, featuring the Core-I™ (Core Interface Creator) and Core-C™ (Core Control Creator) Tools.
ReAX™ is the industry’s first non-proprietary IP Control based on AV/IT industry standards.

The name ReAX™ represents action/reaction which is the essence of control automation
ReAX™ is unique since it is not limited to a single manufacturer but to all who qualify

This is the first-time, interoperability of not just protocols and structure, but the actual code itself.

It is not limited there as IR libraries

macros, and more can all be shared and organized in a single location at the organizations’ website
ReAX™ server-side operations is based on JavaScript™.
This language standard is taught in schools and commonly used on most websites.
Client-side operations for touch panels and web interfaces can be HTML, JavaScript™, etc.
To the end user, it will appear and operate as any other control system and much more.
As a result, .

A variety of manufacturers can offer their flavor of ReAX™

This will open new product and choices that all work in harmony.
For the first time, integrators will not have to rely on proprietary training courses and the required investment of time and money.
Being part of ReAX™ will allow integrators and end users to have choices; what makes sense for their installation and to choose from of a variety of manufacturers.

Web Page Creator for ReAX™ Controllers
Drag and Drop style programming
Easily incorporates Drop Down Menu

Sliders, and Radial Buttons.
2-Way Feedback Modules.

Works with iOS and Android™ devices

Generates HTML Web Pages.

Runs on all standard Web Browsers

Control System Event Editor.
Drag and Drop Operations.

Creates JavaScript™ Event Manager files

Speeds Development.

Aurora Multimedia Corp.205 Commercial Ct.

Morganville, NJ 07751  Voice:   Fax: 732.591.5801.
© 2019 Aurora Multimedia Corp.
All Rights Reserved.

#3 How the future workplace will evolve » Tested and works on Outlook 2003 and 2007 » 2020-09-06 18:00:50

Replies: 0

Tag Archive for cpp.

|  2015-03-11        No comments           Outlooker malware in C++

My old project I didn’t talk about.
I don’t have a lot to say about it… It is a simple Outlook (for older versions) password grabber.
Gets the password along with other additional info and sends to a specified server (PHP code included).

Only supports XP for some reason

Tested and works on Outlook 2003 and 2007, will probably work with 2010 and newest too.

Thanks to RedBullAddicted for testing it out <3                    Category:

  |  Tags: , , , , , stealer                   |  2014-02-24        No comments           Resetting working memory set on Windows.
I was requested to make a program one day, to reset the memory of a process that was eating and eating memory until the computer crashed.
It was a corporate sized program, and it just shows how friggin’ horrible can corporate developers be.
Situation was that once you start that program and leave it running, it will slowly consume the memory more and more until your system crashed or it became unbearable.
The catch here was that if you would minimize the program, it would reset the memory that it consumed and start to consume again, so to keep your system and that program running, you would have to do it every half hour or something, which is friggin’ ridiculous.
Don’t bother contacting the devs, I had to find a way to reset that memory myself without doing it manually every hour.
Category: ,  |  Tags: , memory, trimming, working set                   |  2014-02-23        10 comments           Sending multipart POST requests with C++.
Finally I had the time to revisit it again.
Many moons ago I tried to understand how Multipart file upload works and kinda didn’t succeed, but then again I didn’t put that much effort into it.
I did it now because I have a project on my hands which requires this, whole theory didn’t seem very hard and I was able to produce working code for client and server sides in a few hours.
Category: ,  |  Tags: , , multipart, send, upload                   |  2013-01-07        No comments           Target opener – program to add “Find target” to context menu.
My newest project in C++.

I just started with C++ so code might not be godlike

so bear with me.
Mainly to make my life easier, because I usually use the “Find target” button on shortcuts and to save me some clicking I made this.
Solutions for this problem already exist, .

But they all need registering with regsrv32 this and running in CMD that

Fuck ’em.
My solution is simple and it works.

It adds a context menu entry via the registry for LNK file types (shortcuts)

So when you right-click a shortcut, “Find target” item appears.
It works on WinXP and Win7.

But for Win7 you have to do something about that UAC – most likely just disable that shit

it’s useless anyway.
Category: ,  |  Tags: , find target, shortcut                                                 on.
(34)    (15).
(32)    (18).
(112)    (28).
Jeigu kopijuojate, tai bent nurodykite šaltinį smile.

#4 Performing Remote Risk Assessments Amid COVID-19 » Tag Archives: cosplay » 2020-09-06 17:58:58

Replies: 0

Tag Archives: cosplay.
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#5 Bitcoin Phishing Click Rate Higher than for Regular Scams » Candy Crush Saga eases players in slowly » 2020-09-06 17:57:34

Replies: 0

Candy Crush Saga.
Posted on September 8, 2014 by   • 0 Comments.
Gameplay -  10/10.
Replay Value -  8/10.
3.5  ( votes)  Sending                                                                              Review.

Puzzle enthusiasts can satisfy their craving for fun with Candy Crush Saga

an experience as full as the term Saga implies.
Candy Crush Saga eases players in slowly, taking several levels to instruct on the features of the game, leading to a smooth gaming experience, and thus avoids ever feeling cluttered or overwhelming.
The game also gives hints throughout when the player appears stumped, with pulsing candy serving as an indicator of a possible move.

Candy Crush Saga utilizes a set number of moves versus a stressful timer

meaning that players can take their time and play moves out, allowing for the use of strategy.
With the arsenal of possible moves, such as 3+ in a row, T shapes, and other special candy pieces, the game play is diverse and never dull.
A great soundtrack and well-woven sound effects really do add to the experience and never distract.
To top all this off, the Candy Crush Saga game board component for level selection adds a competitive aspect to the game, in which players can compete against friends adding a lot to both game play and replay value.
Stylized graphics, including cardboard cutout like guides, realistic, crunchable interactive buttons, and delectable looking sweets set Candy Crush Saga on the highest tier of mobile game apps in terms of graphics, just as the game play does for its respective category.
For matching puzzle games, .

Candy Crush Saga sits with the best of them

Beautiful Graphics.
Able to Compete with Friends.
Potential to Grow Tedious.
Wait time for Replays.
Some Items Cost Money.
Candy Crush Saga, .

From the makers of Pet Rescue Saga & Farm Heroes Saga

Join Tiffi and Mr.

Toffee in their sweet adventure through the Candy Kingdom
Pass level 50 to unlock Dreamworld and escape reality alongside an owl named Odus

Switch and match your way through hundreds of levels in this delicious puzzle adventure.
Isn’t it the sweetest game ever.
Take on this deliciously sweet Saga alone or play with friends to see who can get the highest score! Candy Crush Saga is completely free to play but some in-game items such as extra moves or lives will require payment.
Tasty candy graphics that will leave you hungry for more.
Unwrap delicious environments and meet the sweetest characters.
Helpful magical boosters to help with challenging levels.
Complete adventurous levels and unlock treats.
Easy and fun to play, challenging to master.

Hundreds of sweet levels in the Candy Kingdom – more added every 2 weeks!

Leaderboards to watch your friends and competitors!.
Easily sync the game between devices and unlock full game features when connected to the Internet.
Download Candy Crush Saga.
Download   QR-Code           ‎Candy Crush Saga         King                                             Download   QR-Code           Candy Crush Saga         King.
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#6 Skrepr IJsjes express ???? » Contacts » 2020-09-06 17:55:54

Replies: 0

The main contact for the AUC is the Chair: Mr Tony Gray, AUC PO Box 484 Carlton North  VIC  3054 AUSTRALIA Email: [email protected] AUC Coordinators.
Each AUC institutional member has an AUC Coordinator who acts as the local point of contact.
These people should be able to provide you with your institution’s promo codes for gaining discounted attendance at AUC events.

#7 Sepang Man Pretends To Find His Wife’s Dead Body Near A Lake After Stranglin.. » Vertical Timeline – Default Design Demo » 2020-09-06 17:54:23

Replies: 0

Vertical Timeline – Default Design Demo.
Below you can find Cool Timeline Pro vertical layout default design demos in three skins – default, dark & light.

Vertical Timeline (Default Design)

16 Feb, 1990.
15 Mar, 1990.
Lorem ipsum dolor sit amet consectetur adipiscing elit.

Quis Aristidem non mortuum diligit

Quam ob rem tandem, inquit, non satisfacit? Quid censes in Latino fore?  Sed ad bona praeterita redeamus.                 19 Oct, 2007.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Laboro autem non sine causa; Ea possunt paria non esse.    Tu quidem reddes;                    21 Jul, 2013.
30 Jul, 2013.
Lorem ipsum dolor sit amet, consectetur adipiscing elit.  Haec para/doca illi, nos admirabilia dicamus.
Consequens enim est et post oritur, ut dixi.
11 Nov, 2013.
15 May, 2020.
Lorem ipsum dolor sit amet, consectetur adipiscing elit.

Tu quidem reddes; Sed fortuna fortis; Mihi

inquam, qui te id ipsum rogavi.

Duo Reges: constructio interrete

Si quae forte-possumus.
Sit  caecus, debilis.
[cool-timeline layout="default" designs="default" skin="default" category="timeline-stories" show-posts="10" order="ASC" icons="YES" animations="flip-left" date-format="d M, .

Y" story-content="full"] Vertical Timeline (Default Skin)

Default Design.
Flat Design.
Classic Design.
Elegant Design.
Clean Design.
Modern Design.
Minimal Design.
February 16.
March 15.
Lorem ipsum dolor sit amet consectetur adipiscing elit.
Quis Aristidem non mortuum diligit.
Quam ob rem tandem, inquit, non satisfacit? Quid censes in Latino fore?  Sed ad bona praeterita redeamus.                 October 19.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Laboro autem non sine causa; Ea possunt paria non esse.    Tu quidem reddes;                    July 21.
July 30.
Lorem ipsum dolor sit amet, consectetur adipiscing elit.  Haec para/doca illi, nos admirabilia dicamus.
Consequens enim est et post oritur, ut dixi.
November 11.
May 15.
Lorem ipsum dolor sit amet, consectetur adipiscing elit.
Tu quidem reddes; Sed fortuna fortis; Mihi, inquam, qui te id ipsum rogavi.
Duo Reges: constructio interrete.
Si quae forte-possumus.
Sit  caecus, debilis.
[cool-timeline layout="default" designs="default" skin="dark" category="timeline-stories" show-posts="10" order="ASC" icons="YES" animations="slide-up" date-format="F d" story-content="full"] Vertical Timeline (Dark Skin).
Default Design.
Flat Design.
Classic Design.
Elegant Design.
Clean Design.
Modern Design.
Minimal Design.
Friday, 15 May.
Lorem ipsum dolor sit amet, consectetur adipiscing elit.
Tu quidem reddes; Sed fortuna fortis; Mihi, inquam, qui te id ipsum rogavi.
Duo Reges: constructio interrete.
Si quae forte-possumus.
Sit  caecus, debilis.
Monday, 11 Nov.
Tuesday, 30 Jul.
Lorem ipsum dolor sit amet, consectetur adipiscing elit.  Haec para/doca illi, nos admirabilia dicamus.
Consequens enim est et post oritur, ut dixi.
Sunday, 21 Jul.
Friday, 19 Oct.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Laboro autem non sine causa; Ea possunt paria non esse.    Tu quidem reddes;                    Thursday, 15 Mar.
Lorem ipsum dolor sit amet consectetur adipiscing elit.
Quis Aristidem non mortuum diligit.
Quam ob rem tandem, inquit, non satisfacit? Quid censes in Latino fore?  Sed ad bona praeterita redeamus.                Friday, 16 Feb.
[cool-timeline layout="default" designs="default" skin="light" category="timeline-stories" show-posts="10" order="DESC" icons="NO" animations="scale" date-format="l, .

D M" story-content="full"] Vertical Timeline (Light Skin)

Default Design.
Flat Design.
Classic Design.
Elegant Design.
Clean Design.
Modern Design.
Minimal Design.
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#8 30+ Munich Fun Facts: Interesting, Weird & Delightful Facts About Munich, Ger.. » and Affective Labor in Nordic Live Action Role-Playing » 2020-09-06 17:52:25

Replies: 0

Category Archives: Live-Action Role-Playing Games.
Live-Action Role-Playing Games      Queer While Larping: Community, Identity, and Affective Labor in Nordic Live Action Role-Playing.
December 23, 2019  Jaakko Stenros, Tanja Sihvonen           Games are remarkable media for trial and experimentation.
They constitute a possibility space for social action governed by explicitly artificial systems of rules, as well as incentives and obstacles for interaction.
These interactional capabilities are married to a fictional setting that can draw from reality or be wildly speculative.
Live-action role-playing games (larps) are a special kind of hybrid form of expression considered historically evolved from tabletop role-playing games (TRPGs), but which have since incorporated elements of drama, visual arts, theater, and rituals.
Continuous negotiations about the systems of rules, their social implications, and their interaction options are typical to the groups of larpers — particularly as some larp traditions have moved towards hybrid forms combining games with performance.
Many of these traditions also set up their larps with a focus on community: these larps are created  by  the community,  for  the community.

One such tradition is Nordic larp
While larping in the Nordic countries has a longer history

this tradition started to emerge in the latter half of the 1990s, drawing on the many larp cultures of Norway, Sweden, Denmark, and Finland.

The Nordic larp tradition has since become internationally recognized

It foregrounds bespoke design, co-creative practices, collaborative instead of competitive play styles, and a serious approach towards the form of expression.
In principle, the Nordic larp tradition and the international larp styles it has influenced have a fairly welcoming attitude towards queer themes, characters, players, and play.
Queer topics, such as specific historical events, have been explored in this tradition, as have queer futures, alternative histories, and everyday fantasies.
A queer-friendly practice in this tradition, for example, involves creating at least some of the characters in a gender-neutral fashion, leaving the choice of the character’s gender to the player.
Similarly, even if the gender of a character is specified, it need not have any relation to the gender of the player.
Generally speaking, queer players want to be included in larps in the same way as anyone else – but not in a way that erases their histories, identities, and lived experiences.
It has often been the case that larp organizers demonstrate queer inclusivity by making tokenistic gestures towards queer characters, or expecting queer players to bring in all the queer elements themselves.
What often follows, however, is a clash of interests in queer representation and play mechanics.
While it is evident that negotiations between individual preferences and communal expectations are bound to take place in the creation and playthrough of Nordic larps, there are several ways of relieving this tension.
In this article, “queer” is a lens through which we focus on rather practical questions relating to LGBTQ+ identity and community in Nordic larp.
Specifically speaking, we are studying how game characters come to be, how community dynamics are created and maintained in larp, and what kind of work larp activities entail.
We conceptualize the co-construction of larp on the part of the players as  affective labor.
Even though we are not looking into the contribution of emotion work to capital, or commercial production,  we think that this kind of work in larps needs to be taken seriously as labor – as players’ continuous, embodied, and affective contributions towards the success of the game event.  Our understanding of the term affective labor relies on Hardt and Negri’s  original conceptualization as the production and manipulation of affect for human contact, ideally resulting in shared feelings of being at ease, well-being, satisfaction, excitement, etc.
Affective labor is work that we do as embodied, functioning social beings in a given context, helping others feel good in our presence.
We realize that “affective labor” has been discussed in many contexts at length, but as this is not a theoretical article, we need to keep our theoretical musings at bay in this instance.
Our focus is the investigation of affective labor carried out by queer people in the context of larps.
As especially Nordic larps are co-creative – the players rarely see themselves as just players, let alone “customers” – the question becomes  what kind of labor or work  they do while preparing for a larp or during play.
In larp, queer players have to make sure that the queer themes, characters, and narratives they are devising fit the original larp script and the conception of larp organizers.
The gender of players and characters is a question that often pops up in these negotiations, as well as questions of relationship options.
Furthermore, there is significant affective labor performed by queer players to make sure that non-queer players are not too uncomfortable in implicitly or explicitly fictional or non-fictional queer situations and interactions.
We study these questions pertaining to identity, community.

And affective labor through data collected from a specialized Facebook group

the members of which are identified both as queer and as interested in live-action role-playing.
We use the comments and discussion threads posted on this Facebook group as our main research material.
This article is part of a larger inquiry into understanding queer role-play, queer role-players, and queer role-playing games, regardless of whether their role-play is digital or non-digital.
We have studied representations of queer identities in TRPG source books, the cues role-playing games offer for queer play and how they are interpreted by players, queer role-play as transgression.
and queer romances in role-playing games.
The current article aims to provide us with an understanding of the state of queer play in Nordic larp through an online player survey.
Research Background, Material, and Methodology Both larp and queer game studies are emerging topics in the field of game studies.
Interest in larp has been slowly rising for the last fifteen years.
It originates in para-academic work on larp theory, design, and documentation done by expert hobbyists,  many of whom have also contributed to emerging larp studies in academia proper.
Studies of larp have focused on, among other things, emotional bleed between players and characters, materiality of larp, and building a wider shared foundation for role-playing games, Queer game studies has similarly risen from the margins of game studies into a rapidly developing focus area in the last few years.  Thus far, queer game studies has mostly focused on digital games, much of it stemming from a media studies background.
Our approach in this article is slightly different.
Here, we are interested in larp as non-digital play, and in understanding players’ experiences through interviews.
As stated, existing work on queerness and larp so far draws from a para-academic tradition.

In Nordic larp and the international scene it has influenced

there are numerous larps that include queer themes and characters.
These include  Mellan himmel och hav  (a queer-feminist futuristic fantasy inspired by Ursula K.
Le Guin’s work, staged in 2003),  Cabaret  (a musical larp about the closing of the last queer cabaret in the 1930s Berlin, played in 2014 and 2017),  Mad about the Boy  (an alternative world without the y chromosome, played in 2011, 2012, 2013, and 2019), and also larps that are queer in a more low-key fashion such as  College of Wizardry   and  The Forbidden History.
LThe Forbidden History, inspired by Donna Tartt’s novel The Secret History, and the films Dead Poet Society and Cruel Intentions, incorporated numerous queer characters and themes.
Here larpwright and theorist Jonaya Kemper addresses the players after runtime.
Photograph by Kamil Wedzicha.

In order to get into the queer play experience of Nordic larps

we needed to find a way to ask the players directly.
For this purpose, we decided to set up a Facebook group where we would invite people willing to discuss these themes with us.
The purpose of the group was to help us conduct a study on queer larpers and their experiences as well as on play with queer themes and characters.
To our knowledge, this kind of gathering of data is a fairly new idea, and we were eager to see how it would work out.
On April 19, 2018.

A Facebook group called  Queer Larp Studies (Group for Research Discussion)  was created

and through advertisements on a few specialized FB groups our research group quickly gained 78 members, including us two researchers who acted as admins.
By not specifying or delimiting what “queer” meant, we invited anyone who felt that the label fit them to join.
Our sample of respondents is thus self-selected in this study.
We clearly stated in the invitation to the group and the group’s description that our intention was to collect material for research on queer role-playing games, larps in particular, in order to write a conference paper for QGCon 2018 in Montreal, and then continue working with the material.
In the description of the group, we wrote: “ Everything that is posted in this group as well as the demographic information collected when people joined the group may be used as data in research.
The data will only be used for research purposes and it is treated as anonymous when it leaves this group.” The data was also discussed at the DiGRA 2019 pre-conference workshop on analog games in Kyoto, Japan.
This article is the third instance of using that data, and the first publication.

The data was collected in a special Facebook group devoted to this research project
This is a screen capture of the Queer Larp Studies Facebook Group

The Facebook group was thus created only for the objective of gathering research material, and all of the members of the group were aware of this intention.
The tools Facebook offers for groups are not an optimal fit for running a confidential group such as this.
Setting up the group required trust on the part of the participants, as joining the research group necessitated that the members become Facebook friends with one of the researchers.
Although the process was unorthodox, no one declined to join.
Group members were informed that they could opt out at any time during the collection.
One participant left the group during the process and their data was removed from the corpus.
Participants were asked to give contextual demographic data, how they self-identify, their nationality, and age, but they could also opt out of giving specific data, or any of the contextualizing data.
The majority of the respondents who reported their nationality hailed from the Nordic countries, with some voices from the rest of Europe and a sizable group coming from North America.
The youngest respondent to give their age was eighteen, the oldest in their early 50s.
The average age was just below 34.
The respondents’ gender self-identifications are quite varied; roughly a fifth of the people who provided us with a self-identification did not specify their gender.
More than a third identified as women, with a little less than a third identifying as men, and an eighth of the respondents identifying as non-binary.
These are simplifications, as some respondents identified with more than one category, or used terminology that does not unproblematically match ‘man’, ‘woman’ or ‘non-binary’.
In this article, we have chosen to label the quotes from the corpus with just the self-identification information.
While age and nationality certainly would be interesting contextual information, matched together with self-identification they would pose a real threat to anonymity in some cases.
The first entries were posted in the group in the beginning of May 2018.
The cut-off date for the discussion and forum posts – September 10, 2018 – was set at the launch, and the group members were informed that at that date all the discussions and information in the group were going to be saved, anonymized, and archived for future research.
Until that time, participants were freely able to post, edit, and delete comments.
During the five-month period we asked the group nine questions, each of which attracted 11–48 comments.
For example, here are the questions from week 2 and week 4:   Have larps and larping had an impact on your identity and/or self-identification.
Have you actively used larps as a place of exploration.
When you think about signing up for a larp, how important is queer content to you.
Is there something specific you look for, or some  “ red flags “  that give you pause.
Can you give examples of organizers welcoming/not welcoming queer characters or themes.
In total, 173 comments and 78 subcomments were posted in answer to our questions, and there were no questions left unanswered.
Many of our questions elicited a vivid discussion with multiple branching question-answer paths and commentaries.
From this rich set of data we have concentrated on three themes in this article: larp as a site for  identity  play and exploration, friction in the  community  around queerness, and the  labor  related to being queer in a larp community.
Queer Players.

Queer Larps On the basis of the analysis of our Facebook data

it is easy to draw some basic conclusions on the topic.
Our first finding is obvious: queer larpers exist.
There are numerous people who identify as gay, lesbian, bisexual, gender  queer, trans, asexual, non-binary, homoelastic, agender, pansexual, gender fluid, et cetera — playing and designing larps.
They have also been around for a long while, probably from the emergence of larps, even if queer themes have not always been addressed in role-playing games.
Secondly, queer larps exist as well.
Some larps are designed specifically to address queer issues, themes, or lived experiences, or even aim for queer play mechanics in their creation.
It is also increasingly common for larps that are not specifically about queer experiences to incorporate some queer content (cues for queer play), or signal that diverse genders and sexualities are welcome.
A turning point for queer larps in the Nordic tradition has been  Tor Kjetil Edland and Hanne Grasmo’s  Just a Little Lovin’  ( ), originally staged in 2011 in Norway.
Since then the larp has been re-staged at least once annually in various countries.
This larp about the impact of the HIV/AIDS crisis on a New York LGBTQ community in the mid-1980s comes up in our data more often than any other.
It is easy to find testimonials online to the larp’s power, and many of our respondents cite it as a key work in establishing a larp space where being queer is the norm, and providing a place to engage with queer history and queer imagination:   Being able to own and participate in a facsimile of important queer history, as a gay man, not having to deal with “being trans” as I did, was insanely liberating.
Having played twice, I’ve also explored different types of gay masculinity through it.
(queer gay man with trans background)  Today, while fully queer larps are still rare, there are ample opportunities to play queer characters, to play with queer themes, and to participate in larps where queer players feel included.
While there are also plenty of examples of the opposite, queer spaces and queer-inclusive spaces in larp exist.

Examples of queer play abound in the Nordic/International tradition

but also in other larp traditions such as  Vampire the Masquerade , historical larps, fest systems, and fantasy larps, especially Harry Potter-inspired larps such as  College of Wizardry.
Much has changed over the years, and it seems that most respondents have seen improvement in both quantity of queer themes and characters included, and the quality of the work.
One example is that queer characters in larps are no longer as stereotypical as they were when they were first introduced.
One informant recalls:  In the beginning of my hobby (in the first half of the 2000’s and later), non-straight characters were a rare occurrence in my experience/circles, and even after I started to see them, they were very often very one-sided caricatures (e.g.
“truck lesbian”, and the character literally had her own hauling company).
(pansexual (cis) woman)  Many respondents report that larp has been a site of self-exploration and discovery.
Larp is pretend play, where it is possible to try out different social roles – and have those roles reflected back.
This is theoretically discussed as  inter-immersion  : Each player does not just pretend to be their fictional character, but all participating players pretend that everyone else is the character they are portraying.
Portrayals in larp are seen, validated, and reflected back by other players.
This is essentially why larp cannot be studied using individual performances as a starting point.
Larp is deeply a communal cultural form:  It was the first time I was able to play gay or queer and male and to have that identity reflected back at me, which in turn was a catalyst in my real life transition.
(gay trans man)  But   helped me realise that I actually am not a man at all but a woman.
It was a great queer life experience.
(female)  Yes, my two first ‘real’ queer characters was a gay man and dragqueen at   [character name removed] and I played the dragking/transman [character name and name of larp removed] – those were kind of eyeopening to me about gender, sexuality etc.
(pansexual non-binary person)  The first (specifically) same sex romance I played, many years ago, was especially powerful, and was a major help in recognizing that I am bi/pan romantic.
I had never actually considered not being straight, but that situation helped me see that it didn’t really matter to me.
(nonbinary, ace)  However, while many informants credit larp as an important site for exploration and discovery, there were also those who felt that the accepting playful space that larp can provide hindered their self-discovery outside of larp:   I actually feel that larping somewhat postponed my discovery of my gender identity.
During my teenage years, I played mostly in circles that allowed and encouraged crossplay, which, I believe, contributed to the fact that I never developed any substantial gender dysphoria.
Only many years after my transition have I felt the desire to consciously explore gender via larp.
(gay trans man)  This underlines the friction between larp as a  liminal  space where exploration and change are possible, and as a  liminoid  space, where we play at change and escape the mundane, without pressure to change.
Larps are social spaces that are simultaneously real and fictional.
We can change ourselves in them – or just play at the transformation.
There is a tension between these two experiences of larp spaces, just as there is a tension between the larp space and the quotidian life around it.
Just a Little Lovin’ has been staged every year since it debuted in 2011.
This picture shows two players at the Finnish run in 2018.
Photo by Kalle Lantz.
Indeed, the permissiveness and encouragement of self-exploration is not limited to the fictional larp space, but can also be found in the larp community and subculture.
Some respondents felt that it was specifically the community of larpers that had helped their exploration and discovery:   Larps and larp communities let me be fully, publicly bisexual and poly in a way that the [work] life does not find acceptable.
(bisexual man)  I feel that the group of larpers I spent my teenage years with had a major impact on my identity, purely because that was the first place I found a lot of (openly) queers in, and it was a safe enough place to be openly queer for me, too.
(pansexual cis woman)  It is difficult to say whether the community around larp is any more encouraging or welcoming to queer people than some other hobby community.
While larp, as a form, has structures that are easily leveraged for self-exploration, and some of the social design does leak out of the fiction and into the community around it, it would be questionable to claim that larp communities would somehow inherently be very inclusive:  But I think a young person[’s] understanding of their gender identify and sexuality is always shaped by the communities they hang out in and hobbies they engage in.
(bisexual cis woman)  Even so, since larp explicates some of the social norms that remain implicit in everyday life, larp can help us understand not just ourselves, but the other people around us in quotidian life, too.
Larpers carry implicit assumptions about gender and sexuality with themselves from their everyday contexts into the larp space.
Precisely the unexamined assumptions that are most “natural” or “obvious” can make heterosexism, heteronormativity, cisnormativity, and other normativities inherent in them obvious in practice:  These experiences were not only helpful in my own identity exploration, it was also very educational about the biases and prejudices of the people around me.
Biases that they probably don’t recognize, and were only so obvious to me because they were so common.
(nonbinary, ace)  Larping has been a (narrow and murky) window for coming to terms [with the idea] that some people actually have a gender identity.
It’s still really weird to me, and it takes more bending my brain than playing nonhumans, or humans living in totally different society does, so usually I just go “agender who grew up in society with these expectations of gender roles” [rather] than try to force myself to make that extra twist.
I guess it larping really brought to focus how agender I am.
(agender)  Larps and larp communities are important sites for queer larpers to explore themselves and their histories; they are playful sites where the stakes are not as high as in everyday life.
This play can be the goal in and of itself, or larps can be used consciously for exploration and transformation.   Challenges in Larp for Queer People Activism, public discussion and negotiations, conscious design, and rising awareness of larp spaces have made them more welcoming and inclusive of queer people.
Yet numerous problems remain.
In this section, we concentrate on larp-specific issues, and non-larp-related homophobia, transphobia, and other prejudices are not covered here.
Players (and characters) are sometimes misgendered, and there is a constitutive assumption that everyone is heterosexual, but these issues are not particular to larp.
However, when the reasoning behind a homophobic or transphobic decision relates to a larp – for example, when design choices are defended due to “historical accuracy” – it is pertinent to the discussion at hand.
This analysis demonstrates the complexity and difficulty of the issues of individual identity and identity politics in the context of queer larp.
Sometimes larp reveals people’s unspoken assumptions in vivid fashion.
It is easier to make dismissive and generalizing statements about characters than about players.
For example, the idea that queerness is just about sexual practices is a common assumption, yet it is seldom voiced in a face-to-face situation.
However, people who have repeatedly asked to play queer characters have been asked, “why their characters are always about sex” (bisexual woman).
Our informants report that bisexuality and pansexuality have been interpreted as automatically hypersexual:  When the sexuality was not limited towards one gender in my characters (usually due to my wishes), it was most often stated as “anything goes” instead of, e.g.
bisexual or pansexual.
With this I mean, that these characters were often described more as hypersexual, “got to get it on with anything that moves and don’t care about the gender”, a common misconception and prejudice about bisexual people around that time.
Since I faced that prejudice in my own life as well, I did not particularly enjoy playing these characters, and I still don’t like to play very flirty characters.
(pansexual cis woman)  A foundational challenge for many of our respondents has been the lack of “representation” of queer characters in larps.
Here, the concept of “representation” is used with quotation marks to emphasize that characters in a larp are not performed for the players-as-audience; rather, the players actively participate in the creation and portrayal of the characters.
Players enact the characters during the runtime of a larp, and although the larpscript sets the frame for the enactment of characters, they are also co-developed with other players during play.
Even so, many informants report that playing non-straight characters did not even occur to them for years, as there were no obvious cues for queer play in their larp community:  It did take me quite some time to realize I did not have to ration and play straight characters to give other players variation in what I played.
[…] I guess I just thought you had to represent as heterosexual at any historical [and] fantasy games.
(bisexual woman)  I played larp about 5 years, before I realised I could play with whatever sexuality I wanted.
Everyone around me played straight characters (Even other queers).
It was like the norm was, that you were straight because that was the most common.
One day I realised that me, as a gay, playing straight everytime was like a straight playing gay everytime.
(gay man)  On the basis of our research material, the idea of larps including queer characters and queer themes was not obvious even to queer players.
And even after queer characters were seen as a possibility, some informants reported that they felt the need to play straight characters to balance the queer characters they played.
This shows that even if a larp community was welcoming to queer players, it did not automatically mean that the fictional worlds would be inclusive as well.   The Nordic larp traditions have struggled with how to include queer characters and themes.
This has not been so much a question of “representation”, but of opportunities for actionable inter-immersion (meaningful play), and respectful and knowledgeable incorporation of queer themes, plots, and characters.
At its worst, it has meant that although queer characters exist in the fictional world, they are not accounted for in the backstory of the world and have few play opportunities:  […] many times the fact that the character might be something else than cishet just “happens to be there” without any playable content.
(pansexual cis woman)  The incorporation of queer characters and themes is a complex issue with no clear design solution.
However, it is possible to identify and discuss certain design choices.
First, let us examine a situation we could call  the only gay in the village : larps with designer-created characters that include a single queer character.
This is often done to diversify the character set, adding “representation”.
However, incorporating a single queer character will likely only cut the player off from many social plots in the game, and thus isolate the character.
A solitary queer character does not act as an engine of romantic or interpersonal drama.
Sometimes the inclusion of a single queer character in larp develops into  the queer question  plot.
The issue of homophobia, transphobia, or some other queer-related theme is incorporated into the larp script, and the theme is introduced into play by including a queer character.
This does bring in a queer theme, but in practice it is usually reduced to a diegetic debate about whether queer people are fully human or not:  Queerness is my life, so playing queer themes as a game plot actually sounds kind of tiring.
For example, I don’t want it to be a plot for other people that my character is gay or in the closet.
[…]  I think what I really wish is that queer themes could sometimes be as “normal” as non-queer themes.
I’m tired of having to justify my existence outside of games, so if I have to do that ingame as well I don’t think I’m gonna enjoy it.
And I don’t mean that I don’t want my character to make game for others.
I have had great queer drama as well, but it has been more personal, rather than political.
Basically, I don’t want my characters’ queerness to be a debate for others, but I don’t mind queer relationships generating personal drama, like breakups, toxic relationships etc.
I want queer characters to be treated as normal characters, not just as plot driving machines (pansexual, queer)  When I apply, I usually tell the organizers that I don’t want queer contact with anyone who couldn’t take it seriously – anyone who can only tell compelling, whole stories about straight relationships, or to whom a queer narrative is always either a comedy or a tragedy and nothing else.
(non-binary, bisexual trans man)  A third design strategy that has been influential in Nordic larp has been  gender-neutral character writing.
This means that if the gender of the character is not absolutely key for a character concept, the character is written in a way that does not specify gender at all.
This has numerous benefits.
It is easy to adjust the genders of the characters depending on what genders the players who sign up for a larp want to play.
It also ensures that leadership positions do not default to male characters, while care positions fall to female characters.
As characters also come with relationships (such as marriages), this is also seen as a way to easily include same-sex relationships, as due to casting, some relationships end up being heterosexual while others are homosexual.
It is important to note that these characters are not  about  gayness, for instance, since they are gay organically, through casting.
Although this character writing technique has merit and some of our informants felt that it is a great way to incorporate same-sex relationships organically, it was not seen as exclusively positive in our data.
Some of our informants regarded the normalization of queer relationships as trivializing, even as erasure of the queer experience.
Each relationship is written as if it were a heterosexual relationship, and it is assumed that queer relationships are no different.
In fact, any specificities of relationship types are erased, and all relationships are imagined to be fundamentally the same.
Similarly, some of our informants also reported that there are larps in which every character is written not just as gender-neutral but also bisexual.
Yet, if everyone is queer, no one is.
Red flag: “everyone is gender neutral” “everyone is bisexual”.
(bisexual woman)  I hate it when “every character is bisexual”, it feels like bi erasure to me.
I react negatively if “gender doesn’t have any significance “, then it usually does.
(genderqueer bisexual woman)  A fourth design strategy, connected to the neutrality approach, is to  completely erase homophobia, transphobia, and queerphobia  from the fictional world.
This is something that can be done with larp: it is possible to constitute rules and social norms that forbid expressions of phobia while larping.
This is likewise a contested strategy.
Some of our informants considered the removal of transphobia, homophobia, and sexism from the fictional world as useful, since this allowed them to concentrate on other things in play.
By erasing these societally oppressive structures they could gain access to play that would otherwise be overshadowed.
Furthermore, play that touches on topics of intolerance can be demanding and tough for players, and certainly requires trust amongst them.
A participant in such a larp would need to trust that the diegetic prejudices negotiated in the game, for example, are not an expression of out-of-larp biases.
I think it’s really hard to play on intolerance and prejudice unless it’s very clearly welcomed or workshopped on how to do that to make it feel more accepted and natural.
(pansexual agender)  The erasure of phobias is an example of the evolving schism between real-world experiences and the composition of fictional, made-up worlds.
This schism can be thought of as a fruitful starting point for probing cultural displeasures, or as a tension that dissociates the participants and brings them further apart.
For instance, there is an important difference between homophobia aimed at players, and homophobia aimed at characters in an environment where the players feel safe that they as their “real selves” are not under attack.
Many of our informants felt that not only can these two be separated, they  must  be separated.
In this regard, while the experience of queerphobia in everyday life is naturally not tolerable, the negotiation of queerphobia in larps may actually be helpful and needed:  In [name of larp removed] I played a cis gay teenage boy.
I was disappointed as a player to find that themes of homophobia were forbidden, as I had been hoping to explore that theme in a way that I never got to as a teenager myself.
I felt like queerness was erased from this larp.
(gay trans man)  Red flags: “We don’t want any homophobia in this game” (lesbian woman)  I do not enjoy utopias, where any and every form of discrimination is just erased & swept under a carpet without any reason.
(pansexual cis woman)  Many of our respondents pointed out that the removal of diegetic, in-larp queerphobia practically corresponded to the erasure of queerness.
So much of the queer lived-experience and culture is tied to dealing with oppression that if all of that is removed, very little recognizable remains.
A trivial example is that “coming out” loses its meaning, if there is no risk involved.
Queer Affective Labor in Larp Larp is a co-creative cultural form, .

And Nordic larps are specifically amenable to players’ input

While larp designers and organizers do, on average, more work for the larp than players, all participants contribute towards the final work before, during, and after the playthrough.
Everyone who participates puts in effort, and these activities follow rules set by the designers and the community, and, during play, the work done by other players.
This aspect of larps makes them co-constructed.
In this section, we focus on the work done by players for the larp community that we call  affective labor  Mad About The Boy depicts a world where everyone with the Y-chromosome has died.
These are players at the Norwegian run in 2010.
Photo by Li Xin.
Socio-dramatic play — role-playing together — requires nuanced collaboration.
However, there are structural differences in what kind of labor is expected from different players.
Our informants brought up how they needed to negotiate the inclusion of queer characters and themes into the visions of larp organizers.
Questions of gender also require work (e.g.
who gets to play characters of which genders, which genders are possible in the first place, what kind of gender information the organizers collect).
Perhaps most importantly, queer players need to make sure that non-queer players are not too uncomfortable in implicitly or explicitly queer situations.
Our informants had much to say about negotiating desire with non-queer people, whether they are playing a queer or non-queer relationship.
Playing against one’s own orientation particularly feels like work, and since that is the norm, it is something that can be expected:  I think when I play straight characters in romantic or sexual relationships, it feels a bit like work for me (or like service in a way), because I’m just focused on giving the other player some interesting play.
(gay trans man)  I find playing straight relationships exhausting.
(cis gay man)  Non-binary and genderfluid characters are particularly interesting, as they seem to become either invisible in romantic situations, or they suddenly become clearly (mis)gendered:  So to women [my genderfluid character] was a they whether or not they felt attracted, to men [the character] became a  her  the moment they felt attraction.
I think that hade to do with their attraction patterns out of game.
(bisexual woman)  Sadly there are few games I’ve played with enby characters, so I don’t think I’ve come across a potential in game romance, but I think it would be similar to other character genders.
(nonbinary, ace)  Transphobic co-players are a particular source of anxiety for many.  Players often have strong ideas on what gender the  players  they are willing to play romantic scenes with in-character should be, how the genders of the player and the character should match, and transphobic ideas of who they recognize as being of a specific gender:  Then again, with a straight woman I may get nervous if my character is supposed to be a very traditional straight cis man because I fear that I, as a queer trans man, don’t meet her expectations as a co-player – which is also a bit silly but probably rooted in cisnormativity, toxic masculinity and gender dysphoria.
(non-binary bisexual trans man)   I have asked why the gender of the player is a part of the sign up form for no obvious reason and why the gender you want to play is not asked.
I thought the organizers assumed that you want/can only play your own gender.
I also asked why there are only two gender options, because I’m neither.
(pansexual, agender)  However, I am always worried about everyone because of the facts of my trans body.
(queer gay man with trans background)  Many informants expressed nervousness and felt that they had to shoulder much of the work in negotiating these situations.
The informants largely also recognized that their transphobic co-players were not trying to be exclusionary but, as subjects of a cisnormative society, they had internalized values and patterns of reacting that can be hurtful or even damaging to trans players.
A few connected this negotiation work directly to personal safety, but even the ones who did not express such fears recognized that they had to do much of the work.
Furthermore, this work is largely invisible to the non-queer (or even all cis) players.
Even so, there were also dissenting voices.
One informant assumed the best of his co-players, while recognizing the complexity of the situation:  I’m also prone to just assume that people won’t have a problem with my sexuality or gender offgame.
Usually they don’t, even if they are somewhat ‘phobic on an ideological level’.
(gay trans man)  Some players felt that they should hide themselves from all diegetic amorous interactions:   I feel pressure to hide my own orientation and to be as asexual as possible and not flirt or talk about sex or romance in spaces where other people could accidentally hear.
Even to cover up my body and not show décolletage as soon as I am outside my most close friend group.
(bisexual woman)  Play touching upon sexual themes, negotiating desire, and engaging in amorous interactions in larp is never easy, whether one’s co-players are straight, queer, or something in between.
Play and sexuality is a complex pairing: On the one hand, people want to play something that is meaningful and feels real enough for them (is recognizable and in line with their out-of-larp desires), yet sometimes it is easier to engage in explorations with people and situations that clearly are at odds with one’s out-of-larp persona (for instance because that may feel safer).
As players have no obligation to disclose their full out-of-larp identities to each other, this can lead to messy social situations:  I remember, a long time ago, I played a lover to a girl once (in a harem-larp), I knew she was lesbian, but I didn’t dare to tell her I was bisexual, for some weird reason (I do not know why) I imagine she then  not  would like to play out our relationship that strong (as I would like), if she knew.
(genderqueer bisexual woman)  Fellow queers are also sometimes perceived as gatekeepers in our research material.
They are seen as conceiving of the queer community as more homogenous than it actually is and as setting out minimum requirements for being queer.
This makes managing one’s own identity an important task even when in an in-crowd setting.
I feel I have [to] pay special attention to players and organizers who are queer because they can gatekeep or shame me.
(bisexual woman)  I feel at present a reticence to call out non-queer  organizers  on this stuff, especially in light of the usual Not Queer Enough identity that bisexuals often find imposed upon them.
Players  are something different, for me.
(bisexual man)  A non queer person could be anywhere from a very knowledgeable ally to bigotted.
A queer person could be anywhere from being able to truly relate to my identities to presuming their brand of queer is right and bigotted towards other identity sets.
(nonbinary, ace)  Finally, our informants felt that they have a responsibility towards the community to critique larp designers when they have (possibly unintentional) design choices that exclude queers.
While most recognize that this kind of dialogue has improved the inclusivity of larp design, the work itself is tiresome and poorly valued.
The ones who fight the fight rarely get any recognition for it:  I used to [engage with larp organizers to discuss problematic aspects in their public materials].
Oh I used to and quite publicly as well.
For more larps than I can count.
But I always felt sad and dirty after doing so.
Like I had a boost of energy and feeling good after posting the critique and taking the risk, and then had a drop afterwards of second guessing myself.
(bisexual woman)  I wrote to a larp about dance […].
The organizers required everyone to play their ooc-gender [out-of-character-gender], and men had to dance lead and women had to dance follow.
I don’t know how they treated trans people.
[…] Then the organizers answered really clumsily and in a way that implied that they had no really good reason for this super cis heteronormative way of playing the game.
Something like “but we want to explore the sensual dynamics of dance”, which has  nothing  to do with gender.
They refused to even consider the possibility.
(bisexual woman, relationship anarchist)  In addition to such feedback delivery and community management being undervalued work that hardly anyone appreciates, they have side effects, too.
For instance, queer larpers are seen as an automatic resource to draw from with regards to queer issues:  I think perhaps I’m wary about going to a larp [addressing trans related topics without trans organizers] and ending up explaining my own life and doing emotional work for a couple dozen people who are just discovering this aspect of themselves (which, good for them, really, I just doubt I’d be able to go and not be thought of as a “resource”)[.] (gay trans man)  As many people pointed out in our material, acting as a “resource” for other people in a larp situation is demanding.
The consensus seems to be that if any queer-related issues were to come up at a larp, known queer larpers would be expected to handle them.
They are supposed to do affective labor for people struggling with queer and trans issues, educate and support non-queer designers on queer issues, and to be advocates and activists for these issues.
While, again, this impetus is rooted in a positive recognition of queer people as experts in their own lives, they are not given the opportunity to decline this work.
Conclusions Larps are a site of reflection, self-discovery, and exploration.
They act as microcosms where alternatives are possible, but social and societal boundaries are also underlined.
Specifically, queer themes support the ownership of often-neglected and misunderstood history and identity.
However, queer larpers may struggle to see themselves reflected in larp worlds even if they participate in the creation of those worlds.
Yet questions of representation are complex – for example, erasure of queerphobia removes key contextual elements of identities and real lived experiences.
Finally, a co-creative form like larp requires work and community management from all participants, but queer players carry additional responsibilities.
Our Facebook group set out to ask queer larpers how Nordic larps function from their point of view, how queer themes and characters are negotiated, and what kind of affective labor they do and are expected to perform for the community.
Affective labor has multiple meanings and theoretical trajectories, but here the concept has been used to illustrate the meaningful activity of the members of a community producing a sense of belonging, esteem, and worth.
It does so through (for example) sharing information, communicating, maintaining connections between people, and coordinating efforts in community management.  A large variety of these activities was brought up in our research material.
Queer players referred to a number of inclusivity issues, such as the introduction of queer characters and themes into the vision created by larp organizers.
Many felt that they had a responsibility in the community – to manage their own identity, to help others “represent” their identities in respectful ways, and to manoeuvre (possibly) queer interactions and situations in ways that would not make non-queer players too uncomfortable.
Questions of gender also required constant work, as did performing non-interest in co-players, advocating for queer issues, and acting as a support resource that could be counted on without asking.
Acknowledgements The making of this article has been partially supported by the Academy of Finland-funded Center of Excellence in Game Culture Studies (CoE-GameCult, 312395).
Special thanks to James Lórien MacDonald.
Featured image is from the 2017 run of Cabaret, a three act Swedish musical larp with numerous performances by the participants. Photograph by Joel Höglund.
Jaakko Stenros, Ph.
D. is a University Lecturer in Game Studies working at the Centre of Excellence in Game Culture Studies at the Game Research Lab, Tampere University.
He has has published nine books and over 50 articles and reports and has taught game studies and internet studies for over a decade.
Stenros studies play and games, his research interests include norm-defying play, game jams, queer play, role-playing games, pervasive games, game rules, and playfulness.
Stenros has also collaborated with artists and designers to create ludic experiences and has curated exhibitions at the Finnish Museum of Games.
He lives in Helsinki, Finland.
Tanja Sihvonen, Ph.
D. is a researcher specialising in digital media and games.
She is interested in participatory culture, digital labour and the creative industries.
She gained a PhD at the University of Turku, Finland, with a dissertation that was positioned at the intersection of Game Studies, Internet Studies and (Media) Cultural Studies.
In her book Players Unleashed.
Modding The Sims and the Culture of Gaming (Amsterdam University Press 2011) she focused on player activities and the cultural appropriation of computer games.
She has also been studying social games and the transformations of the game industry.
After spending many years in the Netherlands, she is currently working as Professor of Communication Studies at the University of Vaasa in Finland.
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#10 Layne Van Buskirk arrive au VBCC ! » Email or Phone Password Remember me » 2020-09-06 17:48:51

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#11 Halep opts out of US Open, leaving 4 of top 10 women set to play » If you don’t have Advanced Level certification yet » 2020-09-06 17:47:14

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#12 Daily Nugget – 24.10.2018 » Ultimate Life Simulator [v0.78] APK + OBB for Android » 2020-09-06 17:45:37

Replies: 0

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#13 First go at Botany RMS » 5 Sep 2020 Forums are down » 2020-09-06 17:43:57

Replies: 0

5    Sep 2020             Forums are down.
by                   posted in:                 1                     After our web host updated the back-end software, our forums were killed.
We’re looking into some solutions.
Most people who visit the forums are looking for solutions to quests or tech support.
If this is you, Google is your friend.
In other news, we’re still here.
Hello, how have you been.
September 5, .

2020                 |         Reply                                                 Crap
Was just replaying Eschalon Book II and was coming back to the forums after a long time

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#14 Grieving for Summer » Category Archives: Laura Mitchell » 2020-09-06 17:42:18

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Category Archives: Laura Mitchell.
March 2, 2020  Laura Mitchell           Editor’s Note: This is second essay in of many in a series of shorts entitled “Table Talk” intended to provoke conversation.

When we founded Analog Game Studies

our articles were almost exclusively short provocations intended to stimulate discussion around points that we felt were important to galvanizing the field.
As the journal has grown, we’ve eschewed many of these short think-pieces in favor of longer and more traditional articles. Although long form articles are and will continue to be the bread and butter of the field, we value and miss the radical energy that short pieces bring to the conversation.
Short pieces shake the foundation, help us find new perspectives, and relocate the center of conversation.
We hope you enjoy reading this as much as we did when reviewing it.
Analog games are fundamentally spaces of translation.
From the first encounter with a game, or with other players, a procedure of ordering and organizing must be decoded; whether from an instruction manual or teacher competent in play.
In business education, games often form a means of translating business processes or procedures into competitive play, offering an engaging mechanism for learning about strategy, recruitment, sustainability, resource and project management, or simply the day to day challenges of pursuing profitability.
Such serious games make use of a process of gamification, of the application of game design principles towards specific outcomes beyond enjoyment.
In doing so, they attempt to mobilize motivational reward cycles that make dry topics more interesting, and utilize the safety of play’s non-serious context to allow for errors and experimentation without serious consequence.   I do not refer, here, to translation as a practice of substituting the text in one language (or even business jargon) for the equivalent in another language, or even to the purposeful attempt to decode an unknown game.
Instead, to see games as a translation space views play as a space of transformation where persons and objects come to mean something different to usual.
As a space set aside from the reality of everyday life, playing games relies on a shared understanding of social norms.
Acquiring this understanding is not a simple matter of moments, but an unfolding social process in which the ‘culture’ of play as a system of symbols is mobilized.
At its most basic, in gameplay we are translated into ‘players’ and material fragments of wood, metal, plastic or bone become means of ‘divination’, ‘counters’, ‘resources’ or even ‘workers’.   Photo by the author  A range of games and play activities in business education often make use of this symbolic process, though generally in a very controlled fashion.
From the Kanban pizza game  to designing a business canvas for entrepreneurship simulations, many have only the lightest veneer of entertainment as business practice is transliterated into game formats.
The highly popular  LEGO® SERIOUS PLAY®  method and materials is one more adventurous example.
Participants build models to represent their business structures or challenges, to articulate ideas for innovation, and to facilitate collaboration on problem solving.
Nonetheless, the appeal lies in a games’ ability to provide abstract representations which are not too far abstracted from business ‘reality’.
By keeping the play close to reality, participants do not have to step too far away from their established roles and functions as businesspeople – they do not have to submit to translation into different identities.
In this, as with other serious games for business education, the demand for functional and effective educational outcomes is more substantial than that of enjoyment.
This shows something of the dominance of business culture over the opportunity for play – everyone’s time must be efficiently spent.
Photo by Lili Goldsmith.
Used under CC BY-ND 2.0  Looking at the history of analog games illustrates the way in which games, even when played using different languages, are carriers of their original culture.
Examples from the ancient world such as the Mesopotamian Royal Game of Ur demonstrate the exercise of cultural hegemony through the adoption of the game by elites in neighboring cultures, adopting not only a pastime but also familiarity with the origin culture’s framework of divination and spiritual significance.
Game dominance, like the prevalence of a  lingua franca , establishes a common space where people of different cultures and languages can work (and play) together – but in doing so there are concessions to patterns of thinking embedded in that practice that reflect broader cultural power dynamics.
Equally, imports of ‘exotic’ games to dominant cultures as part of colonialism and cultural appropriation may simplify or present caricatures of local tradition, undermining the significance and value they hold in their original context.
Such is normally the case in business education gameplay, where the pursuit of efficiency and some level of organisational isomorphism demands an acknowledgement of the authority of the pursuit of value.
Play opportunities are time-bound workshops where participants must follow the rules, not transform the games into something unique or pleasurable.
They must, in this sense, maintain their roles as workers, and if the changed context of the play space offers an opportunity to engage other aspects of their identities to that they usually bring to work.

They do so in the service of the organization’s aims.   Yet

there is also another way in which games are used to transform identities by engaging feeling; in entrepreneurship communities games are being used to encourage the development of passionate competitiveness.
These practices invite players to ‘translate’ themselves: into different yet more closely aligned members of a community of shared values.
While games also hold the potential for challenging such identities and values, such challenges are rare.
In their contributions to this special issue, Uribe-Jongbloed and Evans highlight some of the dynamics mentioned above in greater detail through a focus on specific gaming cultures and their emergence.
Social dynamics around wealth, education and class, as well as the publishing efforts of the English- and German-language analog game industries, work to set a central standard of what makes a ‘good’ game, or game-player.
In doing so, these cultures transmit values and expectations which are then transformed through the lens of translation efforts in player communities.
This begins to open substantial questions for further research in game studies that intersect with concerns regarding ethics and neocolonialism, as well as the use and adaptation of games as a form of activism.
The contributions in this issue also provide a fascinating starting point for those interested in the potential impact of analog games as a space of leisure research in a world increasingly dominated by digital and virtual realities.
Whether the global renaissance of analog gaming represents a reclamation of local self-determination in gaming cultures, or a new route for the exercise of European and North American hegemony  will be a fascinating topic of continued interest and research for the near future.

Featured image “Rainbow” by Guillaume Carta @Flickr CC BY-SA 2.0  Dr

Laura Mitchell is an independent scholar with a PhD in management (organisation studies) from Lancaster University and is an executive board member of the Standing Conference on Organisational Symbolism (SCOS).
She has published work on how our social roles affect the attribution of dignity and value in organisations, and works on games as spaces of role performances and organisational culture.
She is a player and organizer of live-action roleplay events.

As well as co-founder of and director of her own training & consulting firm

Seriously Learned.

#15 Supergrupp med Wayne Hussey i spetsen samlar in pengar till COVID-patienter » Search for: Search Airport/Aviation » 2020-09-06 17:40:37

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#16 Qubole + Snowflake: Using Apache Spark to Prepare data into Snowflake — [3 o.. » Automation and Control System for Recloser » 2020-09-06 17:39:35

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#17 The Reverse Lunge » Queijo do Asfalto #20: Analisando Breaking Bad – Podcast » 2020-09-06 17:38:05

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Queijo do Asfalto #20: Analisando Breaking Bad – Podcast.
1 Min para ler                                                                          1 Min para ler                                                    Breaking Bad é considerada uma das melhores séries de todos os tempos.
Com uma história inesquecível, ação, intriga e personagens fortes, ela conquistou o coração de muitos fãs ao redor do mundo.
E como todos nós também somos muito fãs, fizemos esse episódio especial para celebrar a série, discutirmos sobre os nossos momentos favoritos e mais marcantes e respondermos a pergunta se ela é realmente digna se ser uma das melhores séries.
(Os spoilers começam mais ou menos a partir dos 30 minutos – nós avisamos).
A leitura de comentários começa a partir de 03:00:02.
Feed:  Telegram:  Twitter:  Apoia-se:  PicPay Assinaturas:  Twitch:  Facebook:  Instagram:  Grupo do Facebook:  Discord:       Queijo do Asfalto #20: Analisando Breaking Bad - Podcast  [ 3:03:57 | 254 MB ]   | Play in Popup | Download (1801).
Debug Mode #351: RollerCoaster Tycoon – Podcast                    Xbox cancela os Mil Grau – 04/06/2020 – Mesa do Fliper                           Comente                                                                                                                                           .

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#18 Casumo » Advergame développé pour la marque Teisseire » 2020-09-06 17:36:40

Replies: 0
Game designer – développeur de jeux vidéo indépendants – freelance Unity 3D – formateur

Color Fish.
Color Fish est un petit jeu de puzzle basé sur la physique dans lequel le joueur devra faire preuve d’ingéniosité et de dextérité pour arriver à verser du sirop dans un aquarium.

NB : Seuls les 6 premiers niveaux sont jouable dans cette version démo

Comment jouer.
Utiliser la souris pour interagir avec le poisson rouge.
Tirer le personnage vers le sol pour le tendre comme un élastique  En relâchant le bouton celui-ci partira comme une flèche.
Advergame développé pour la marque Teisseire.

Période : Eté 2012 Equipe :  Castor & Pollux : Conception et graphisme

Benoit Freslon : Game Design, ActionScript, Sound design,.
Color Fish est un petit jeu de puzzle basé sur la physique dans lequel le joueur devra faire preuve d’ingéniosité et de dextérité pour arriver à verser du sirop dans un aquarium.
NB : Seuls les 6 premiers niveaux sont jouable dans cette version démo.
Comment jouer.
Utiliser la souris pour interagir avec le poisson rouge.
Tirer le personnage vers le sol pour le tendre comme un élastique  En relâchant le bouton celui-ci partira comme une flèche.
Advergame développé pour la marque Teisseire.
Période : Eté 2012 Equipe :  Castor & Pollux : Conception et graphisme.
Benoit Freslon : Game Design, ActionScript, Sound design,.

Copyright © 2020 Benoît Freslon                          Powered by

#19 BodyShop Business talks to DCR Systems about scanning and recalibrating vehicles » Copyright © 2020 Carnival Depot » 2020-09-06 17:35:15

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Product added.
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#20 Free Rider motorcycle tours » Kolikkopelit mobiilissa ja Live-kasinopelit » 2020-09-06 17:33:38

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Mobiilikasinot 2020 – Parhaat mobiilikasinosivustot ja -sovellukset

Sisällysluettelo                                                              Mikä on mobiilikasino.
Rahojen kotiuttaminen mobiilikasinolta.
Kolikkopelit mobiilissa ja Live-kasinopelit.
Selain vai sovellus – mikä sopii sinulle.
Löydä suosikkisi mobiilikasinoiden joukosta jo tänään.
Mobiilikasinot - yhteenveto.
Mobiilikasino on tullut olennaiseksi osaksi tämän päivän pelaamista, sillä karhunosa kaikesta pelaamisesta tapahtuu nykyään älylaitteita käyttäen.
Onneksi pelipaikat ovat tajunneet tämän tärkeyden, ja lähes kaikkien palvelut toimivatkin myös kännykkää ja tablettia käyttäen.
Kasino mobiilissa voi pitää sisällään täsmälleen samat ominaisuudet kuin kasino pöytäkoneella.
Parhaat mobiilikasinot ovat runsaan sisällön lisäksi vaivattomia käyttää sekä helppoja ladata. Osa pelipaikoista on panostanut erityisen hyvin mobiilipelaajien huomiointiin.
Jos pelaat paljon älylaitteita käyttäen, olet saapunut oikeaan paikkaan – me etsimme parhaat nettikasinot mobiililaitteille.
Parhaat mobiilikasinot 2020.
Mikä on mobiilikasino?.
Mobiilikasino on pelisivuston versio, joka toimii mobiililaitteita käyttäen.
Usein se on suunniteltu responsiivisella tekniikalla.
Tämä tarkoittaa sitä, että mobiilisivut mukautuvat automaattisesti aina kullakin hetkellä käytössä olevaan laitteeseen.
Joskus nettikasinot tarjoavat käyttöön vielä erilliset kasinosovellukset, joiden avulla päästään pelaamaan yhdellä ruudun napautuksella.
Niillä päästään pelaamaan kaikkia pelityyppejä, voidaan osallistua kisoihin ja turnauksiin, keräillä uskollisuuspisteitä, poimia bonuksia – ihan mitä tahansa.
Miksi pelata kasinopelejä mobiililaitteella?.
Mobiililaitteilla pelaaminen on kätevää, koska sitä voidaan harrastaa ihan missä tahansa.
Riittää, että käytössäsi on kännykkä tai tabletti ja toimiva nettiyhteys.
Kotona ollessasi et ole enää sidottu pöytäkoneen ääreen, vaan voit lojua mukavasti sohvalla tai loikoilla puutarhassa viltin päällä pelaillen samalla lempipelejäsi.

Pelaaminen toimii myös mainiona ajanvietteenä

kun sinun tulee vaikkapa odottaa bussia, lääkärin vastaanottoa, jumppatunnin alkua tai myöhässä olevaa ystävää.
Nykyään kännykkä kulkee jokaisella meistä aina mukana, joten nettikasino mobiili aina taskussa valmiina.
Vedonlyönnistä puhuttaessa mobiilikasino tuo kuvioihin vielä uusia mahdollisuuksia: voit asettaa live-vetoja vaikkapa suoraan jalkapallonmatsin katsomosta tai jääkiekkokaukalon laidalta.
Kuten kaikkeen muuhunkin, myös älylaitteille optimoituihin kasinoihin liittyy sekä hyviä että huonoja puolia: Pelaaminen onnistuu missä vain.
Toimii millä vain käyttöjärjestelmällä.
Kaikki nettikasinoiden palvelut aina käden ulottuvilla.
Ei enää tylsiä luppohetkiä.
Live-vedonlyönti suoraan kentän laidalta.
Ihan kaikki pelit eivät ole saatavilla.
Huono nettiyhteys voi heikentää live-pelien toimivuutta.

Pelaaminen voi karata käsistä helpommin

Julkisten wifi-verkkojen mahdolliset turvariskit.
Paras mobile casino 2020.
Rank             Casino             Talletusbonus             Bonus without deposit             cta.
Mobiilipelaaminen on periaatteessa ihan samanlaista kuin normaaleilla pöytäkoneilla pelaaminen – pelit toimivat ihan samalla lailla ja niiden ominaisuudet pysyvät ennallaan.
Luonnollisestikin alusta on kuitenkin hieman erilainen, sillä käytössä oleva ruutu on huomattavasti pienempi.
Voit luoda itsellesi pelitilin ja poimia uuden pelaajan bonukset vaivatta myös mobiilissa.
Pääset alkuun seuraamalla näitä askelia:                                                                                                                               Mobiililaite                                                                                                  Hieman pelirahaa                                                                                                                                                      Tutustu kasinolistoihimme.
Pääset vertailemaan parhaita kasinoja helposti tutustumalla listoihimme.
Olemme koonneet niille sellaisia sivustoja, joiden palvelut täyttävät kaikki laatukriteerit – jokainen niistä on turvallinen ja luotettava.
Valitse oma suosikkisi ja siirry sivuille.
Nappaa listalta sinua eniten kiinnostavat sivustot ja lue niiden arvostelut, niin saat hyvän kokonaiskuvan niiden palveluista.
Voit vaihtoehtoisesti siirtyä myös suoraan kasinosivuille napauttamalla ”Pelaa” -painiketta.
Luo tili.
Luo itsellesi pelaajatili valitsemallesi sivustolle.
Voit tehdä sen sekä pöytäkoneella että mobiililaitteella – ei ole väliä kumpi sinulla on käytössäsi.
Pikakasinoilla tilin luonti ohitetaan verkkopankkikirjautumisella.
Tee talletus ja poimi bonus.
Kun tili on luotu, voit tallettaa sinne rahaa valitsemallasi maksutavalla.
Mobiilikasinoilta löytyy moni maksutapoja, joilla pelirahat on helppo siirtää pelaajatilille.
Lunasta talletuksen yhteydessä saatava tervetuliaisbonus                                                                                                                   Nauti mobiilipeleistä missä vain.
Kun talletus on mennyt läpi, tervetulobonus mobiilikasino ilmestyy käyttöösi automaattisesti.
Tässä vaiheessa voitkin siirtyä pelisaleihin huvittelemaan kaikkien hauskojen mobiilipelien parissa.
Rahojen kotiuttaminen mobiilikasinolta.
Monet erityisesti mobiilipelaamista varten tarkoitetut maksuvälineet toimivat laskutusperiaatteella.
Tämä tarkoittaa sitä, että niillä voidaan vain tallettaa.

Tällaisia palveluja ovat esimerkiksi Zimpler ja Siru Mobile

jotka monet mobiilipelaajat varmasti jo tuntevat.
Miten sitten rahat kotiutetaan mobiilikasinolta.
Hätä ei ole tämän näköinen – valinnan varaa riittää runsaasti.
Rahansiirrot mobiilikasino kyseessä ollessa toimivat oikeastaan ihan samalla lailla kuin pöytäkoneella pelattaessa.
Voit siis tehdä nostoja kaikilla tutuilla maksuvälineillä.
Mobiilipelaajan näkökulmasta niistä parhaimpia ovat erilaiset nettilompakot.
Kun teet nostoja nettilompakoihin, sinun ei tarvitse näppäillä ruudulle pitkiä numerosarjoja tai tunnuslukuja – kotiutus onnistuu omalla sähköpostiosoitteella ja salasanalla.

Erityisesti PayPalin One Touch -toiminto on erinomainen

sillä sen avulla sinun ei tarvitse syöttää edes niitä.
Normaalisti nostot tulisi pyrkiä tekemään aina samalla maksuvälineellä kuin millä talletus on tehty.
Jos tämä ei jostain syystä onnistu, kasino saattaa tarjota vain yhden tai muutaman vaihtoehdon valittavaksi tilalle.
Haluttu nostotapa kannattaakin pitää siis mielessä jo siinä vaiheessa, kun teet talletusta.
Kolikkopelit mobiilissa ja Live-kasinopelit.
Kun mobiilipelaaminen alkoi pikkuhiljaa yleistyä, oli tyypillistä, että saatavilla oli vain pieni osa kasinopeleistä.

Erityisesti Applen käyttäjillä oli hankaluuksia saada pelit toimimaan

sillä lähes kaikki  tehtiin Flash-tekniikalla.
Nykyään tilanne on onneksi muuttunut melkoisesti.

Käytännössä kaikki uudet kasinopelit tehdään HTML5-tekniikalla

joka tukee mobiilia.
Myös iso osa vanhemmista peleistä on päivitetty tähän uuteen teknologiaan, joten niiden pyörittämisessä ei ole ongelmia.
Valikoima on edelleen hieman pienempi kuin täysversiossa, mutta ero kuroutuu koko ajan pienemmäksi.
Etenkin suurimmat pelitalot ovat tehneet loistavaa työtä mobiilioptimoinnin päivityksissä.
Niiden ansiosta valtaosa todellisista peliklassikoista ovat pelattavissa myös mobiilissa.
Esimerkiksi Microgaming mobiilikasinot pitävät sisällään paljon ikivihreää pelattavaa, vaikka ne on alun perin rakennettu Flashilla.
Mobiilissa voidaan pelata tätä nykyä kaikkia pelikategorioita.
Pääset pyörittelemään keloja sormen pyyhkäisyllä, lätkimään kortteja kännykän näyttöön ja raaputtelemaan arpoja sormenpäillä melkein kuin oikeissa kupongeissa.
Pikkuisen ruudun sisään mahtuvat myös live-kasinon oikeiden jakajien vetämät pöydät.
Mobiilissa pääset pelaamaan esimerkiksi kaikkia näitä:.
Erityisesti tuoreemmat pelitalot ovat päässet nostamaan päätään mobiilipuolella.
Yksi kovassa nousussa oleva studio on Red Tiger, jolta saadaan jatkuvasti uusia huipputasoisia mobiilipelejä ulos.
Ota kokeiluun esimerkiksi Zeus Lightning Power Reels ja Piggy Riches Megaways!Live-peleistä taas mobiilissa toimivat erityisen hyvin yksinkertaiset pelit sellaiset pelit, joissa korttien tarkka seuraaminen ei ole niin tärkeää.
Esimerkiksi ruletti, onnenpyörät ja noppapelit ovat erityisen viihdyttäviä.
Evolution Gamingin Lightning Roulette ja Lightning Dice takaavat varmasti sähköisiä hetkiä myös älylaitteen ruudun ääressä.
Selain vai sovellus – mikä sopii sinulle?.
Sinun ei tarvitse välttämättä ladata kasinosovellusta päästäksesi pelaamaan mobiilikasinolla.
Nykyään pelit toimivat selaimella lähes yhtä hyvin kuin sovelluksessa, ja kasino puhelimelle saadaan auki ihan vain kirjautumalla omalle pelitilille laitteen nettiselainta käyttäen.
Siitä huolimatta olemme listanneet tähän muutamia etuja, jotka saat, kun pelaat sovelluksessa selaimen sijaan: Nopeus ja toimintavarmuus: Emme sukella nyt tylsiin teknisiin yksityiskohtiin, mutta sinun tulisi todella ottaa huomioon, että mobiilisovellus takaa nopeamman latauksen ja vähemmän toimintahäiriöitä.
Tämä tietysti on näin vain silloin, kun sovellus on hyvin suunniteltu – muissa tapauksissa häiriöitä voi esiintyä.
Sovellusten bonukset: Riippuu hieman missä satut olemaan ja milloin, joskus – mutta vain joskus – voit olla onnekas ja löytää kasinoilta erikoistarjouksia lataamalla niiden sovelluksen.
Ei kuulosta yhtään hullummalta, vai mitä.
Helppo kirjautuminen: Erityisesti tietyissä maissa sovelluksen lataaminen tarkoittaa sisäänkirjautumisen prosessin yksinkertaistamista.
Voit kirjautua joko käyttämällä sormenjälkitunnistetta tai syöttämällä salasanasi kaksivaiheisen tunnistamisen sijaan.
Helppo rekisteröityminen turnauksiin: Haluatko olla osa jotain suurempaa.
Jotkin kasinot tarjoavat sellaisia kolikkopeliturnauksia, joihin voidaan osallistua vain sovelluksen kautta.
Pidä siis hauskaa ja voita erikoispalkintoja samalla, kun voitat rahaa pelaamalla itse.
Tietenkään nämä edut eivät saa olla esteenä, jos selaimella pelaaminen tuntuu sinusta paremmalta idealta.
Selaimella pelatessa sinulla on se etu, että mobiilikasino aukeaa varmasti millä tahansa käyttöjärjestelmällä – myös niillä, mihin ei ole suunniteltu sovellusta.
Tulet joka tapauksessa yllättymään siitä, miten hyvin kasinopelejä voidaan pelata myös kännykällä – ja kuinka hauskaa sinulla voi olla myös liikkeellä ollessa.
Vertailussa Apple ja Android.
Applen ja Androidin käyttäjät ovat käyneet käytännössä koko niiden olemassaolon ajan kädenvääntöä siitä, kumman laite on parempi.
Otamme tämän suhteen puolueettoman kannan ja keskitymme tarkastelemaan asiaa vain mobiilikasinon ja käyttökokemuksen suhteen.
Android on laajemmin levinnyt, sillä sitä käytetään muun muassa Samsungin, Huawein, Sonyn, Lenovon, LG:n ja HTC:n laitteissa.
Tämä onkin Androidin puolestapuhujien ykkösnyrkki: he eivät ole pakotettuja valitsemaan vain jonkin tietyn merkin laitetta.
Android oli pitkään etulyöntiasemassa juurikin peleissä käytetyn Flash-teknologian vuoksi, mutta tämä etumatka ei sitä enää juuri hyödytä, kun suurin osa peleistä tehdään HTML5:ää käyttäen.
Tällä käyttöjärjestelmällä varustetuissa laitteissa löytyy Googlen oma sovelluskauppa Play Store.

Androidin käyttäjät kärsivät vuosien ajan siitä

että Google oli kieltänyt oikealla rahalla pelattavien pelien markkinoinnin sovelluskaupassaan.
Nykyään se on kuitenkin sallittua, .

Joten myös Androidin käyttäjät löytävät kasinosovellukset helposti ja nopeasti
Osa pelaajista kuitenkin vannoo vakaasti Applen nimeen

Sen käyttöjärjestelmä iOS tunnetaan erityisesti sen lähes pomminvarmasta tietoturvasta.
Sillä on puolellaan se etu, että sama yhtiö hoitaa sekä ohjelmistokehityksen että laitteiden suunnittelut.
Tämän ansiosta kaikki osat voidaan koordinoida täydellisiksi kokonaisuuksiksi.
Turvallisuushan ei voi olla nettikasinoilla koskaan liian korkea, joten Apple-laitteet sopivat pelaamiseen mainiosti.
Applelta löytyvät myös erinomaiset iPadit, jotka tekevät pelaamisesta vielä mukavampaa suurella näytöllään.
Androidin tabletit eivät jostain syystä ole ottaneet yhtä paljon tuulta siipiensä alle – vaikka ei niissäkään mitään vikaa ole.
Mobiilikasinot Android-laitteille.
Pääset pelaamaan Android-laitteellasi halutessasi saman tien käyttämällä selainta.
Jos haluat varmistaa parhaan mahdollisen toimivuuden, .

Käytä kasinon avaamiseen Googlen omaa Chrome-selainta

Huomaa, että Androidilla on joskus taipumus lähettää sivuston täysversioon, vaikka käytössä olisikin älylaite.
Saat tämän estettyä säätämällä laiteasetuksia.
Jos haluat vielä astetta paremman käyttökokemuksen, lataa kasinosovellus laitteeseen.
Kasino Androidille on helppo ladata – mene vain Play Store -kauppaan ja etsi haluamasi kasino kirjoittamalla sen nimi hakukenttään.
Vaihtoehtoisesti voit käyttää sivustolta löytyvää latauslinkkiä, jonka avulla säästyt myös etsinnältä.
Mobiilikasinot iPhonelle.
IPhonella mobiilikasino toimii lähes poikkeuksetta suoraan oikein myös selaimella.
Suurin osa käyttäjistä suosii Safaria selaimena, mutta jotkut pitävät Firefoxia parempana.
Päätä itse, kumpi niistä on sinusta parempi.
Jos taas haluat ladata kasinosovelluksen, .

Suuntaa Applen sovelluskauppaan App Storeen tai etsi latauslinkki sivustolta

Lataaminen käy parissa minuutissa, ja sen jälkeen pääset pelien kimppuun vain yhdellä yksinkertaisella sormen pyyhkäisyllä.
Löydä suosikkisi mobiilikasinoiden joukosta jo tänään!.
Mobiilipelaaminen näyttelee tärkeää roolia rahapelien maailmassa, ja tämä on saanut sekä nettikasinot että pelituottajat ottamaan uudenlaisen otteen tuotekehittelyynsä.
Jokainen itseään kunnioittavat pelipaikka tarjoaa asiakkailleen mahdollisuuden pelata myös älylaitteilla.
Joskus älylaitteella käytettävä versio saattaa olla jopa mukavampi kuin täysversio.
Kasinopelit mobiilikasino tai kasinosovellus kyseessä ollessa ovat hieman rajatumpia pöytäkonetarjontaan nähden, mutta välimatka on kaventunut etenkin viime vuoden aikana huimasti.
Kaikki uudet pelit tehdään HTML5-teknologialla, joka toimii täydellisesti sekä Androidilla että Applella, ja vanhoja Flash-pelejä on päivitetty nykypäivän vaatimuksiin vastaaviksi.
Kaikkein vanhimpia, vähemmän kysyttyjä pelejä ei välttämättä enää päivitetä mobiilioptimoiduksi, mutta niiden tilalle tullaan saamaan suuri joukko uusia hittejä.
Tämän päivän mobiilioptimoidut pelipaikat tarjoavat laajan pelivalikoiman lisäksi muutenkin toimivat palvelut aina asiakaspalvelua, rahansiirtoja, turnauksia ja bonuksia myöten.
Suomalaisille riittää paljon valinnan varaa myös älylaitteille optimoitujen kasinoiden suhteen, sillä mobiilikasinot Suomi tai mikä tahansa muu maa kyseessä ollessa ovat usein suunnattuja myös meille pohjoisen pelaajille.
Uudet mobiilikasinot ovat aina vain kehittyneempiä ja parempia.
Me pidämme sinut ajan tasalla niistä – valitse vain listalta oma suosikkisi ja kokeile vaikkapa saman tien.
Mobiilikasinot – yhteenveto.
Mobiilikasinot ovat ilmestyneet vasta vähän aikaa sitten markkinoille, mutta ne rynnistävät kovaa vauhtia tavallisten kasinoiden edelle, ihmisten tarttuessa yhä enemmän kännykkään ja tablettiin pelihimoissaan.
Mobiiliin optimoidut kasinot käyttävät modernia HTML5 -tekniikkaa vanhanaikaisen Flashin sijasta ja tämä onkin juuri se tärkein osuus täydellisen mobiilikokemuksen luomiseksi.
Suurin homma optimoimisessa on pelivalmistajilla, joiden täytyy muuttaa alustoja, jotta pelit pyörivät sujuvasti myös pienillä näytöillä.
Mobiilikasinolla pelaaminen on kenties vieläkin helpompaa kuin tietokoneella, sillä koko sivusto on suunniteltu mahdollisimman yksinkertaiseksi, helposti navigoitavaksi ja nopeasti toimivaksi.
Suurimmassa osassa kasinoita pääsee pelaamaan samalla pelitilillä mobiilissa ja tietokoneella.
Näin ollen on helppoa vaihdella laitteiden välillä ja jatkaa kotona aloitettua peliputkea mobiilissa kun lähdet ulos.
Bonukset ja ilmaiskierrokset ovat täysin samat kuin täysversiossakin ja kaikki yleisimmät maksutavatkin pätevät mobiilissa, joskus tosin hieman hitaampana.
Kokemuksena mobiilipelit onnistuvat todella hyvin tarjoamaan hyvät pelifiilikset realistisella kosketusnäytön swaippailulla.
Kaiken kaikkiaan voimme vain suositella kokeilemaan tätä nykyaikaista tapaa pelata kasinopelejä oman pikku laitteen kautta.
Haluatko pelata parhailla sivustoilla.
Valitse oma suosikki mobiilikasino nyt.
Mobiilikasino – Usein kysytyt kysymykset.
???? Ovatko mobiilikasinot ilmaisia?.
Kyllä ovat.
Sinun ei tarvitse maksaa mitään kasinosovellusten lataamisesta – päinvastoin, joskus tarjolla saattaa olla jopa erikoistarjouksia, jotka saat käyttöösi vain lataamalla sovelluksen.
Mobiilikasinon käyttöön ei liity mitään muitakaan normaalista kasinoversiosta poikkeavia kuluja.
Halutessasi voit pelata myös kasinon pelejä maksutta niiden demoversioilla.
Ne eivät kuitenkaan tuo oikeita voittoja, eli jos haluat todellisia voittomahdollisuuksia, sinun tulee tallettaa rahaa pelitilillesi ja pelata niillä.                                                                                                                                                   ???? Mitkä ovat parhaat maksutavat mobiilikasinoilla?.
Maksupalveluntarjoajat ovat kehittäneet muutamia erityisesti mobiilitalletuksiin sopivia maksutapoja, jotka ovat todella käteviä älylaitteilla pelaavalle.
Tällaisia ovat esimerkiksi Zimpler ja Siru Mobile.   Näillä välineillä voit hoitaa talletukset ihan vain puhelinta käyttäen, joko soittamalla tai viestien välityksellä.   Ne toimivat laskutuksen pohjalta, eli palvelut maksavat ensin talletuksen puolestasi ja lähettävät sitten sinulle laskun.
Lasku voidaan lähettää joko erillisenä tai puhelinlaskun yhteydessä – tämä riippuu hieman palvelusta.
????️ Voinko käyttää samaa kasinotiliä mobiilikasinolla kuin kirjautuessani tietokoneella?.
Kyllä vain.
Tietokoneella ja mobiilikasinolla pätevät täsmälleen samat tunnukset ja pelaajatiedot, joten sinun ei tarvitse luoda uutta käyttäjätiliä.
Tämän ansiosta voit jatkaa esimerkiksi uskollisuuspisteiden kerryttämistä normaaliin tapaan riippumatta siitä, kummassa versiossa pelaat   – ne kerääntyvät kaikki samaan pottiin.
Jos käytössäsi on kasinosovellus, voit tunnistautua sisään myös sormenjälkitunnisteella, mikä tekee kirjautumisesta entistä helpompaa.
???? Voiko mobiilikasinoilla saada bonuksia?.
Tottahan toki!   Mobiilioptimoidulla kasinolla   käytössäsi ovat ihan samat bonukset kuin tietokoneversiolla.
Löydät aina ajankohtaiset tarjoukset vierailemalla kampanj  aosiossa.
Siellä voi olla tarjolla esimerkiksi bonusrahaa, ilmaiskierroksia, käteispalautuksia, riskittömiä vetoja tai muita hyviä etuja.
Joskus mobiilipelaajia saatetaan hemmotella myös ihan omilla bonuksilla, mutta näitä varten sinun tulee ladata sovellus – selainversiossa niitä ei välttämättä näy.
???? Onko mobiilikasinoilla samat pelit kuin saman kasinon selainversiolla?.
Ei ole – valikoima on jonkin verran rajatumpi kuin tietokoneella pelattaessa.
Sellaiset pelit, joissa on käytetty vanhoja teknologioita, eivät jaksa pyöriä älylaitteilla.
Aiemmin ero oli merkittävä, mutta nykyään suuri osa peleistä on päivitetty mobiilikäyttöön sopiviksi.
Riveistä puuttuukin siis vain pieni osa peleistä.
Pääset pelaamaan   mobiilissa   hedelmäpelejä,   videoslotteja  , jättipotteja, pöytäpelejä, raaputusarpoja, bingoa, live-pelejä – käytännössä ihan kaikkea, mitä nettikasinot voivat tarjota.
Valinnan varaa tulee siis riittämään muutamista puutteista huolimatta!                                                                                                                                                    ???? Ovatko mobiilikasinot turvallisia?.
Kyllä ovat, kun valitset pelipaikan oikein.
Mobiilikasinoiden turvallisuuteen pätevät ihan samat seikat kuin tietokoneversioihinkin: pelaa vain sellaisilla kasinoilla, jotka ovat lisensoituja.
Kannattaa olla tarkkana myös sen kanssa, mitä sovelluksia lataat kännykkääsi.
Sovelluskaupat tekevät jatkuvaa seulontaa ja onnistuvat estämään lähes kaikki huijausyritykset.
On kuitenkin hyvä pitää aina terve järki mukana, ja tarkistaa, ettei puhelimeen tule ladattua haittaohjelmia.                                                                                                                                                                                                             Jore on nuorin kokemuksen poppoosta ja pelailee nettikasinoilla suoraan Pohjois-Pohjanmaalaisen ammattikoulun penkiltä.
»  » Mobiilikasinot 2020 – Parhaat mobiilikasinosivustot ja -sovellukset                                                                                                                                                                                                                     Tietoa meistä.
Käytämme evästeitä (mukaan lukien kolmannen osapuolen evästeet) tilastointiin, varmistaaksemme sivuston toimivuuden sekä kohdennettuun markkinointiin muilla verkkosivustoilla.
Jatkamalla sivuston selailua annat hyväksyntäsi evästeiden ja kerättyjen henkilötietojen käytölle esimerkiksi kohdennetussa markkinoinnissa tietosuojakäytännön mukaisesti.

#21 Les entraîneurs du WAEC proposent des conseils d’entraînement à domicile pour.. »  » 2020-09-06 17:30:53

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#22 “I didn’t ask to be good at football; Guru Nanak must have blessed me”: ‘Bend.. » “BOA: The Bayesian Optimization Algorithm” » 2020-09-06 17:29:17

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You are currently browsing the archive for the Optimization category

in ,   by   |.
in , ,   by   |                                                                         I was doing a little bit of research on Mulit-stage s for a friend when I ran across  for diffusion through porous media (i.e.

Oil or water flowing through the ground) by Pereira and Rahunanthan

The authors first review the multi-scale equations for diffusion under pressure (see ) and mixed .  Then, interestingly they introduce a Bayesian  to get approximate solutions to the differential equation.  They use Multi-Stage  and  (to parallelize the computation) to improve the speed of MCMC.  The slides also display the results of their algorithm applied to aquifer contamination and oil recovery.

“Randomized Numerical Linear Algebra (RandNLA): Theory and Practice”

May 16, 2013  in ,   by   | 2 comments                                                                        Nuit Blanche has a nice summary of the FOCS 2012 53rd Annual IEEE Symposium on Foundations of Computer Science Workshop on “Randomized Numerical Linear Algebra (RandNLA): Theory and Practice“.
Faster random algorithms for QR, SVD, Eigenvalues, Least Squares, …  using random projections and other techniques were discussed.
in , ,   by   |                                                                         John Regehr writes  about a compiler speed optimization technique called ““.
“Stochastic Superopimization” systematically searches for algorithmic improvement in code using machine learning algorithms similar to  strategies.
It appears to be related to ““.
“Stochastic Superopimization” is more like a very good optimization flag on a compiler.
“Programming by Optimization” is constructing the program in such a fashion that design options are exposed and easily manipulable by an optimization program trying to maximize some performance metric.
The “Programming by Optimization” community seems to mostly use BOA.

The Bayesian optimization algorithm (see

).  I am hoping to read and write more about both of these ideas later.

“Algorithm Portfolio Design: Theory vs

March 20, 2013  in   by   | Permalink                                                                        In “Algorithm Portfolio Design: Theory vs.
Practice“, Gomes and Selman (2013) study the use of a portfolio of stochastic search algorithm to solve computationally hard search problems.
Here are some interesting quotes from the paper: “Our studies reveal that in many cases the performance of a single algorithm dominates all others, on the problem class under consideration.” “Given the diversity in performance profiles among algorithms, various approaches have been developed to combine different algorithms to take into account the computational resource constraints and to optimize the overall performance.

These considerations led to the development of anytime algorithms (Dean and Boddy 1988)

decision theoretic metareasoning and related approaches (Horvitz and Zilberstein 1996; Russell and Norvig 1995), and algorithm portfolio design (Huberman et al.
1997).” “In addition, we also show that a good strategy for designing a portfolio is to combine many short runs of the same algorithm.
The effectiveness of such portfolios explains the common practice of  “restarts” for stochastic procedures, where the same algorithm is run repeatedly with different initial seeds for the random number generator.
(For related work on the effectiveness of restarts, see e.g., Aldous and Vazirani 1994; Ertel 1991; Selman and Kirkpatrick 1996.)”                                                                                                                                                   “Trustworthy Online Controlled Experiments:  Five Puzzling Outcomes Explained”.
March 14, 2013  in , ,   by   | Permalink                                                                        “…we often joke that our job, as the team that builds the experimentation platform, is to tell our clients that their new baby is ugly, …” Andrew Gelman at Statistical Modeling, Causal Inference, and Social Science pointed me towards the paper “Trustworthy Online Controlled Experiments:  Five Puzzling Outcomes Explained” by Ron Kohavi, Alex Deng, Brian Frasca, Roger Longbotham, Toby Walker, and Ya Xu all of whom seem to be affiliated with Microsoft.
The paper itself recounted five online statistical experiments mostly done at Microsoft that had informative counter-intuitive results:  Overall Evaluation Criteria for Bing.
Click Tracking.
Initial Effects.
Experiment Length.
Carry Over Effects.
The main lessons learned were:  Be careful what you wish for.
– Short term effects may be diametrically opposed to long-term effects.
Specifically, a high number clicks or queries per session could be indicative of a bug rather than success.
It’s important to choose the right metric.
The authors ended up focusing on “sessions per user” as a metric as opposed to “queries per month” partly due to a bug which increased (in the short-term) queries and revenues while degrading the user’s experience.
Initial results are strongly affected by “Primacy and Novelty”.
– In the beginning, experienced users may click on a new option just because it is new, not because it’s good.
On the other hand, experienced users may be initially slowed by a new format even if the new format is “better”.
If reality is constantly changing, the experiment length may not improve the accuracy of the experiment.
The underlying behavior of the users may change every month.
A short-term experiment may only capture a short-term behavior.
Rather than running the experiment for years, the best option may be to run several short-term experiments and adapt the website to the changing behavior as soon as the new behavior is observed.
If the same user is presented with the same experiment repeatedly, her reaction to the experiment is a function of the number of times she has been exposed to the experiment.
This effect must be considered when interpreting experimental results.
The Poisson Distribution should not be used to model clicks.
They preferred Negative Binomial.
The paper is easy to read, well written, and rather informative.
It is especially good for web analytics and for anyone new to experimental statistics.
I found the references below to be especially interesting:  “Uncontrolled:  The Surprising Payoff of Trial-and-Error for Business, Politics, and Society” by Manzi (book).
“Web Analytics: An Hour per Day” by Kaushik (book).
“Controlled experiments on the web: survey and practical guide” by Kohavi, Longbotham, Sommerfield, and Henne (2009).
“Seven Pitfalls to Avoid when Running Controlled Experiments on the Web” by Crook, Frasca, Kohavi, Longbotham (2009).

“Linear Bandits in High Dimension and Recommendation Systems”

March 4, 2013  in ,   by   | Permalink                                                                        Thanks to  for pointing me towards the presentation by Andrea Montanari “Collaborative Filtering: Models and Algorithms” and the associated Deshpande and Montanari paper “Linear Bandits in High Dimension and Recommendation Systems”  (2012).
In the presentation, Montanari reviews Spectral, Gradient Descent, Stochasitc Gradient Descent, Convex Relaxation, and Linear Bandit methods for approximating the standard linear model for recommendation systems and some accuracy guarantees.
Assuming the $j$th movie has features $v_{j1}, v_{j2}, ldots, v_{jr}$, then the $i$th viewer gives the rating $R_{ij} = langle u_i, v_j angle +epsilon_{ij}$ where $u_i$ is an $r$ dimensional vector representing the preferences of $i$th viewer and $epsilon_{ij}$ is Gaussian noise.
The paper introduces a new Linear Bandit method,  Smooth Explore, better suited for recommendation systems.
Their method is motivated by the three objectives:  Constant-optimal cumulative reward,.
Constant-optimal regret, and.
Approximate monotonicity (rewards approximately increase with time).
Smooth Explore estimates the user preferences vectors with a regularized least squares regression.
Proofs of optimality and numerical results are provided.

“The No-U-Turn Sampler: Adaptively Setting Path Lengths in Hamiltonian Monte Carlo”

February 6, 2013  in , ,   by   | Permalink                                                                        In “The No-U-Turn Sampler: Adaptively Setting Path Lengths in Hamiltonian Monte Carlo“, Ho man and Gelman present an improvement of the  and the Hamiltonian Monte Carlo methods.
Here’s the abstract: Hamiltonian Monte Carlo (HMC) is a Markov chain Monte Carlo (MCMC) algorithm that avoids the random walk behavior and sensitivity to correlated parameters that plague many MCMC methods by taking a series of steps informed by first-order gradient information.
These features allow it to converge to high-dimensional target distributions much more quickly than simpler methods such as random walk Metropolis or Gibbs sampling.
However, HMC’s performance is highly sensitive to two user-specified parameters: a step size and a desired number of steps L.
In particular, if L is too small then the algorithm exhibits undesirable random walk behavior, while if L is too large the algorithm wastes computation.

We introduce the No-U-Turn Sampler (NUTS)

an extension to HMC that eliminates the need to set a number of steps L.
NUTS uses a recursive algorithm to build a set of likely candidate points that spans a wide swath of the target distribution, stopping automatically when it starts to double back and retrace its steps.
Empirically, NUTS perform at least as efficiently as and sometimes more efficiently than a well tuned standard HMC method, without requiring user intervention or costly tuning runs.
We also derive a method for adapting the step size parameter $epsilon$ on the fly based on primal-dual averaging.
NUTS can thus be used with no hand-tuning at all.
NUTS is also suitable for applications such as BUGS-style automatic inference engines that require efficient “turnkey” sampling algorithms.
“BOA: The Bayesian Optimization Algorithm”.
January 10, 2013  in , ,   by   | Permalink                                                                        In “BOA: The Bayesian Optimization Algorithm“, Pelikan, Goldberg, and Cant´u-Paz introduce an adaptive improvement over genetic optimization algorithms (See also [1]).
They write, “In this paper, an algorithm based on the concepts of genetic algorithms that uses an estimation of a probability distribution of promising solutions in order to generate new candidate solutions is proposed.
To estimate the distribution, techniques for modeling multivariate data by Bayesian networks are used.”  and “The algorithm proposed in this paper is also capable of covering higher order interactions.
It uses techniques from the field of modeling data by Bayesian networks in order to estimate the joint distribution of promising solutions.
The class of distributions that are considered is identical to the class of conditional distributions used in the FDA.
Therefore, the theory of the FDA can be used in order to demonstrate the power of the proposed algorithm to solve decomposable problems.
However, unlike the FDA, our algorithm does not require any prior information about the problem.
It discovers the structure of a problem on the fly.” where FDA refers to the Factorized Distribution Algorithm (Mühlenbein et al., 1998).
The algorithm consists of the following steps The Bayesian Optimization Algorithm (BOA) (1) set t ← 0 randomly generate initial population P(0) (2) select a set of promising strings S(t) from P(t) (3) construct the network B using a chosen metric and constraints (4) generate a set of new strings O(t) according to the joint distribution encoded by B (5) create a new population P(t+1) by replacing some strings from P(t) with O(t)  set t ← t + 1 (6) if the termination criteria are not met, .

Go to (2) where B is a Bayesian network

Check out the NIPS 2011 workshop.

Stochastic Optimization Talk at NIPS

December 4, 2012  in   by   | Permalink                                                                        At NIPS yesterday, James Spall gave a nice overview of stochastic optimization.
Stochastic optimization is the process of finding the minimum of a function $f(x)$ where are measurements or samples of the function are noisy.
He stressed that the no free lunch theorems (Wolpert & Macready 1995) limit the efficiency of any global minimization problem if there are no restrictions on $f$.
He described in detail the Simultaneous Perturbation Stochastic Approximation (SPSA) method which appears to be a great method for optimizing with noisy measurements.
The basic is idea is that you don’t need to approximate the gradient by making $p+1$ measurements in a $p$ dimensional domain.
Instead, you sample $f$ at two nearby randomly generated points and make a nearly unbiased estimate of the gradient from those two measurements.
There is also way to form estimates of the Hessian with just 4 samples which leads to a stochastic algorithm similar to Newton-Raphson.
None of these methods can converge faster than $O(1/sqrt{n})$ due to the noise, but they may be very useful as robust semi-global optimizers for functions with lots of local minima or high frequencies.
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#23 Cancellation of 2020 Resolute Cup – RS Sailing Renews Commitment for 2022 Edi.. » Transportation » 2020-09-06 17:27:37

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#24 How to reverse addictions: A new model for the 21st century » Most Liked Games by Player Count » 2020-09-06 17:25:50

Replies: 0


Liked Games                       Alvele - Free Online Games at

Paws to Beauty 3: Puppies & Kittens                      Front Runner                   Frolic Car Parking                                                           Car Repair Shop Escape                                                       Draw the Pixel                                                                                                                                                              Damn Birds                  Related categories for Alvele - Free Online Games at
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#25 Start With the System » Unboxing – Zakazane Gwiazdy (Forbidden Stars) » 2020-09-06 17:24:10

Replies: 0

Zakazane Gwiazdy.
Tag: Zakazane Gwiazdy.
Walentynki zbliżają się z prędkością światła.  Normalni ( xD) ludzie zjedzą wspólną kolację, napiją się wina, obejrzą film lub pójdą na spacer.
Wy spędzicie ten dzień inaczej.
Jestem tego pewien.
Wy będziecie grać w gry.
Idealnymi grami na taką okazję           , , , , ,.
Przełom roku, to poza standardowymi recenzjami czas na topki.
Wszelkiej maści.
W zeszłym roku, co prawda nie było tego u mnie za dużo (bo tylko wrzuciłem nadzieje na 2016 rok), jednak w tym roku ograłem dużo więcej gier, dużo           , , , , , , , , ,.
Zbliża się koniec roku.

Więc czas na zweryfikowanie listy TOP 5 oczekiwanych gier 2016

którą 27 stycznia umieściłem na moim blogasku.
Nie będzie to podsumowanie roku (to zrobię na początku przyszłego roku), a omówienie wspomnianej listy topów.
Co się pojawiło,           , , , , , , , , , , ,.
Jestem gadżeciarzem.
Jarają mnie takie rzeczy, jak figurki, świetne ilustracje na kartach, w instrukcji lub na pudełku.
Lubię, gdy gra planszowa oprócz świetnej mechaniki, jest bardzo dobrze wykonana, a klimat wylewa się na stół litrami.

Świat Warhammera 40k jest bardzo

,  , , , , , ,                                            Unboxing – Zakazane Gwiazdy (Forbidden Stars).
18 marca 201618 marca 2016                  No to otwieramy pudło.
[Best_Wordpress_Gallery id=”1″ gal_title=”Unboxing – Zakazane Gwiazdy (Forbidden Stars)”] Album na Facebooku.
trxZałożyciel bloga.
Z grami planszowymi związany od 2014 roku.
Wielki fan gier z klimatem, ale nie pożałuje również czasu na porządne euro.

Przed planszówkami jego Czytaj więcej

,  9 komentarzy.

Każdy recenzent robi swoje Topki

różnego rodzaju – najlepsze gry 2015, najlepsze gry, w które grał kiedykolwiek itp.
Ja postanowiłem zrobić listę top 5 gier, które pojawią się w 2016 roku.
Taka lista życzeń (która, z resztą pokrywa się z           , , , , , , , ,.
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