The Finch family is, as we are told, cursed. It's not a spoiler to say that every member of the family dies a tragic, premature death. The family tree in the sketchbook tells you as much at the start of the game.

We play, ostensibly, as 17-year-old Edith Finch, the last surviving member of the Finch family, but also an expecting mother. Her son will carry on the name and legacy of the family. She returns to her childhood home to learn the stories of all her cursed relatives, as she debates internally with whether to share these stories with her son, or to let the past (and its myriad tragedies) fade away and die.

The Finch family is cursed by tragedy.

The house itself, is a whimsical generational home in which each member of the family is given his or her own unique room. As more members of the family are born, new rooms are added onto the house, including a towering structure on the top that makes the house look almost like a castle. After losing both of her sons, Edith's mother began sealing off everyone's rooms so that Edith (and any future children) would not become aware of how the others died. But, each room has alternate ways in and out, including some secret doorways and tunnels.

Despite the whimsical, fantastical nature of the house, everything feels surprisingly real and lived-in. The house is cluttered with the paraphernalia of the family (since they were apparently also hoarders), and each room has a very distinct personality. Even the shared spaces that do not belong to any one individual still exhibit a sense of personality to them. This is a family that takes great pride in their history and the connectedness that they have towards one another.

The Finch home is a whimsical, generational house.

As she learns about these stories, Edith questions whether the family members should know about the stories of their relatives and the supposed curse? Or does that knowledge make tragedy a self-fulfilling prophecy? Should she share these stories with her unborn son, at the risk that the knowledge may cause him to also fall victim to the curse? Or is he cursed either way, and has a right to know it?...

The Kingdom of Kongo was a small, but prosperous kingdom located on the west coast of sub-Saharan Africa. It can trace its origins back to the late 14th century, when Lukeni lua Nimi conquered the city of Mwene Kabunga and renamed it M'banza-Kongo. The city grew rapidly in an otherwise sparsely-populated region, and by the 17th century, it contained about one-fifth of the entire Kongo population (around 100,000 people). It's large population made it a prosperous and wealthy trading hub that eventually attracted the attention of European powers. The Portuguese set up colonies in Kongo territory, where they would set up a Roman Catholic church that would become one of the strongest churches in all of Africa. In 2017, the entire city of M'banza-Kongo was declared a UNESCO World Heritage Site.

In the first half of the 16th century, Kongo was ruled by Mvemba a Nzinga. His father converted to Christianity following the arrival of the Portuguese, and Mvemba a Nzinga added "Afonso" to his name, later becoming known as King Afonso I of Kongo. Afonso played a leading role in Kongo's conversion to Christianity and helped to establish and promote the Roman Catholic Church in the region. The reasoning for his conversion is unclear. Some scholars believe that he was motivated by genuine faith; while others believe that he was only complicit in the conversion in order to facilitate trade with European powers, and possibly to try to spare his population from becoming subject to the Atlantic slave trade. While Kongo had a slave economy of its own, and the kingdom willingly sold slaves to the Europeans, Afonso still denounced the Portuguese as exploiting Kongo's cooperation by kidnapping free Kongo citizens in violation of Kongolese law. The King of Portugal responded by dispatching officers to oversee the slave trade and ensure that only lawful slaves were sold to Europeans, and he demanded additional tribute from Kongo, such as wines and grains.

DISCLAIMER:
Civilization VI is still very early in its life-cycle. Strategies for the game (and for specific leaders and civs) may change as Firaxis applies balance patches, introduces new features, or expands the game through DLC or expansion packs, or as the Civ community discovers new strategies. As such, the following strategy guide may change from time to time. I will try to keep it up-to-date, and will make notations whenever changes are made. I'll also post links in the official 2K forums and CivFanatics, where I'll also report any changes made. If possible and practical, I will try to retain the original content of the strategy for posterity.

I welcome any feedback or suggestions that readers wish to offer. Feel free to post on the linked forums, or by posting a comment at the bottom of the page.

This guide is up to date as of the Summer 2017 patch (ver. 1.0.0.167) (Nubia DLC)

Kongo is a civilization that thrives in jungles and forest, growing massive (and productive) cities. Mvemba a Nzinga adds a unique religious flavor to the civilization by preventing it from being able to found its own religion, while simultaneously wanting other players to send their religion to you.

I'm very late to the Gone Home bandwagon. It's a game that has been available for well over a year and a half. I've had it sitting in my Steam library for quite some time, but only just now got around to playing it, since I've been busy with other games and projects.

The game has already received piles and piles of critical acclaim, awards, and accolades, and I can't imagine that I have anything new to add to this conversation. It was very hard to go into this game without a bias considering that I already knew a bit about how it would play out, and that it's received overwhelmingly positive praise. But now that I've played it, I can say that Gone Home deserves every bit of praise that it receives!

The inclusion of real family photos
adds to the sense of realism.

The premise of Gone Home is that the player assumes the role of Kaitlin Greenbriar, a young woman arriving at her family's new house for the first time after a year of university abroad. She finds the house empty. Her younger sister apparently got into a fight with her parents and has run away. The player must explore the house to discover clues as to what happened in the family, why Sam ran away, and where she is now.

To discover the details of the situation, the player must explore the house, reading hand-written notes, looking at journals, looking at photographs, and picking up cues from the environment in order to piece together the story. Each note has distinct hand-writing, and by the end of the game, you'll even start to recognize the handwritings and know who wrote a particular note before you even pick it up.

By observing the house, reading notes, and hearing journal voice-overs, the player begins to piece together the family's story. The primary narrative revolves around a budding romance between Kate's younger sister, Sam, and a friend at school, and the conflict that comes from her parents' disapproval of the relationship.

Anyone who has ever had a crush or been in love (which is almost all of us) should be able to recognize and relate to elements of Sam's story, even if your situation doesn't mirror hers. The early notes depicting the excitement of getting to know someone new and falling in love were particularly powerful. Reading about Sam being shy in approaching her crush, and then finally having the feeling reciprocated is heartwarming. And the eventual roadblocks in the relationship are then equally heartbreaking.

The game is loaded with personality that makes the characters more substantial and real.

This story is made even more powerful by the absolutely perfect voice-over narration ...

One of my biggest criticisms with the Gods & Kings expansion pack for Civilization V was that none of the features added really felt all that fresh. They were just redesigns of old features that were present in previous games. Granted, they were also the most highly-requested features by the player community, but as concepts, nothing really felt new or original.

The new expansion, Brave New World changes all of that by adding never-before-seen concepts to the game, and they add a great deal of flavor and dramatically change the way that the game unfolds.

Table of Contents

• Returning concepts
  • Trade routes are an obfuscated combination of physical units and abstract "lines on a map"
  • World Congress fleshes out diplomacy, but not enough
• The "pacification" of Civ V
• Completely original concepts adds fun and flavor to the game
  • Flourishing of the arts
  • It belongs in a museum!
  • Tourist attack
• Fun new civilizations make old civs feel mundane
  • Zulu and Shoshone make Germany and America look boring
  • Venice: the first playable City State!
  • Other civs provide plenty of variety
• Miscellaneous balance changes, improvements, and scenarios
  • Missed opportunities for reworking boring legacy civs
  • Interface updates
  • Scenarios are dull
• Brave New World changes the way the game is played, and adds whole new challenges and levels of player-engagement

A few more of the missing concepts from Civilization IV are re-introduced with a new coat of paint in Civilization V: Brave New World: trade routes and a world resolution system. Both systems are implemented differently than in the previous game, and both are kind of hit-or-miss this time around

I have long been asking for the introduction of some kind of international trade route mechanic to be added to Civ V. Without such a feature, the vanilla game (and Gods & Kings) were missing one of the key incentives to maintain peaceful relations with your neighbors. Well now we have such a feature. In some ways, it's a step forward from Civ IV's completely non-interactive trade routes, but it's also a bit clumsy.

Coastal cities might seem weaker due to the lack of gold on sea resources, but sea trade routes are more profitable and have longer range than ground routes, so coastal cities are still valuable.