Continuing my series of strategy posts about Brave New World's modified civilizations, I'm going to take a look at strategies for Arabia. Arabia received a modest revision in Brave New World out of the box, having its national trait moderately redesigned. The old city connection economic focus has been regeared towards Brave New World's new trade route mechanic, and a religious buff was also added to make this civ more compelling for Gods & Kings mechanics.
The majority of the Arabian peninsula is harsh desert, and so massive human settlement did not begin until the rise of the Islamic empires of the middle ages. In the early seventh century, the Prophet Muhammad began preaching the tenets of Islam in Mecca and Medina, which united several Arabian tribes and led to the establishment of the Caliphate, an Islamic empire that began to extend its influence across the peninsula and beyond. In the mid seventh century, the Caliphate began conquering territory from the Byzantine empire and they completely destroyed the once-powerful Persian empire that had dominated the region since antiquity. At its height, the Caliphate extended from Portugal, Spain, and Morocco in the west, all the way to the borders of India in the east. Arabia's position as a crossroads between west and east made it a center for powerful trading hubs, and Arabian engineers and scientists developed advanced new mathematical concepts. Goods, knowledge, and religious beliefs from both ends of the known world (and beyond) often passed through Arabian trading bazaars, and much of the knowledge of the classical Greeks and Romans were preserved by Islamic scholars, eventually contributing to the European Renaissance centuries later.
Harun al-Rashid ruled during the mid eighth century during the Caliphate's golden age. He has been strongly romanticized by Arabian authors and scholars, and has even been mythologized in tales included in the Book of One Thousand and One Nights. He was known as a sharp political, intellectual, and military mind, but it is difficult to separate factual accounts from fictitious ones. Even his exact birth date is debatable. He was Caliph during one of the greatest periods of expansion of the early caliphates, but he also almost destroyed the Caliphate by dividing the empire among his sons instead of naming a single heir. This led to prolonged civil war between the sons, but the Caliphate did survive the turmoil.
UPDATE (September 9, 2014, 2:45 PM Pacific Time)
Shortly after publishing this blog, I came across a forum post that contradicts the information presented in this blog post. As such, I will review the actual source code in the Civilization V dll, do some more testing with the game, and revise the post as necessary. In the meantime, I'll leave the unaltered post here, for posterity. I apologize for the inconvenience.
A lot of buildings in Civilization V mention that they are affected by tiles or resources "near the city", but this quality of being "near a city" is poorly-defined within the game. So what exactly does it mean? I haven't seen any in-depth articles about this topic on the web or in the game's Civilopedia, so I thought I'd outline the important bits here.
Basically, a tile is "near" a city if that city was the first city in its respective empire to claim that tile within its workable radius.
So if you have a single tile or resource that lies between two cities, and both cities' workable ranges overlap that same tile, then that tile is not "near" both cities. It is only "near" the first city that owned that tile. This means that if you go into the city management screen and assign the second city to work that tile, it may receive yield bonuses associated with any improvements or buildings that affect it (such as the stable buffing pasture resources), but the tile's contents will not be considered "near" that second city for other purposes. This includes:
- requirement of an improved Horse or Ivory to build a Circus,
- requirement of an improved Horse, Cow, or Sheep to build a Stable,
- requirement of an improved Iron to build a Forge,
- requirement of an improved Stone or Marble to build a Stone Works,
- requirement of an improved Gold or Silver to build a Mint,
- wonder production bonus from nearby Marble,
- requirement that the city be adjacent to a Mountain in order to build an Observatory,
- trade route income from resource diversity,
- and so on...
Say you have two cities (for example Rome and Antium) whose workable ranges overlap a pastured Horse. Rome was the first city to claim the Horse tile. Rome can, therefore, build a Circus (assuming Trapping has been researched). If you go to the management screen of Antium, you can assign it to work the Horse tile (which prevents Rome from being able to work that tile), but Antium still cannot build a Circus. That is, two cities cannot build a building that requires they both have the same tile.
[LEFT] Rome has annexed a tile containing horses and is building a Circus.
[RIGHT] Later, that tile overlaps with Antium's workable radius, but it cannot build a Circus because the horse was originally claimed by Rome.
Alternatively, if a resource is claimed by a city's culture, but is outside of a city's workable radius (four tiles or more away), then it never counts as "near" that city... [More]
As most internet-savvy Silent Hill fans know, the recent rumors regarding Hideo Kojima working on a Silent Hill game are true. Konami stealthily released a hidden teaser for the project within a demo for a fake game (called "P.T.") being made by a fake studio (7780 Studios).
I don't currently own a PS4, since there haven't been any interesting games out for it yet (although Bloodborne and No Man's Sky both look like they sell me a console). As such, I was a little bit late in getting a chance to actually play the "P.T." demo, but I finally was able to play it on a friend's PS4 over the Labor Day weekend. Given my strong opinions regarding the Silent Hill franchise, I thought I'd weigh in on this whole teaser thing.
It is, however, important to note that "P.T." is just an announcement teaser, and not an actual demo. As such, it is not necessarily representative of the final game - and in fact, the demo clearly states this in the final cutscene. So the demo doesn't really tell us much about the gameplay or story of the new Silent Hill game. At least not directly. And so any conclusions that any one comes to will need to be taken with some degree of skepticism.
The hallway is almost a character in and of itself, and it is gorgeously rendered in Kojima's Fox Engine.
Considering my nature as a Silent Hill "purist", I'm skeptical and cynical about any new developments in the franchise. As such, I'm going to begin by getting my concerns and fears regarding this project out of the way... [More]
Despite being very excited about this game and pre-ordering the collector's edition (contrary to my typical avoidance of pre-orders), it took a couple months before I was able to spend much time with it. My strategy guides for Civilization V: Brave New World was a lot of work and took up a lot of time. I was only able to play bits and pieces of Dark Souls II during that time and didn't make much progress. I was hoping to have a review out in time for the PC release, but that didn't happen. Then I was hoping to publish the review before the first DLC hit, but that didn't happen either. I'll probably review the DLC later, once all three have been released.
Full disclosure: I haven't actually finished the game yet, but I do feel that I've played enough of it to be able to write a review. If completing the game changes my opinion considerably, then I will revise this review as I've done with other games in the past (including the first Dark Souls). I've also considered getting the Steam version, since it may be better than the console versions. If I do play that version, I may revise this review to include opinions on that version.
But for now, I've only played the PS3 version,
Table of Contents
Is Dark Souls II a victorious successor to a masterpiece of design and storytelling?
This is a game that caught my attention back in the beginning of the year. I was on the lookout for new horror games to whet my appetite, and the novelty of this little Indie game had me intrigued.
The teddy bear actually comes off as a bit of a creeper at the beginning of the game..
The novelty of Among the Sleep is that the player character is a two-year-old toddler. I actually think that this is a very clever conceit for a horror game. The world can be a very big, scary place for a small child, full of things that are outside of the child's control and beyond the child's understanding. A young child is completely dependent upon its parents or caregiver, which makes them inherently very vulnerable.
Unfortunately, since the game is being played by adults, we can't play the game with the ignorance and naivety of a two-year-old, so we would see any real-world environment as exactly what it is: not scary.
So in order for this to work, the designers would have to be very clever in how the environments are presented. Easily he most effective part of the game is the early chapters when the child is lost in a closet and then exploring the house after waking up to find his mother and teddy are absent.
The first person perspective puts the camera very low to the ground, which makes the ordinary environments look large and menacing. The character moves slowly and clumsily (running for more than a few second results in the character falling on his face). Thus, simple hallways seem long and treacherous. Even interactions as simple as opening a door require a small amount of puzzle-solving since the character can't reach a door handle without climbing onto something. This section takes good advantage of the central concept of playing as a toddler by using the legitimate hugeness of the real world, and tapping into our own innate desire to protect and shelter children, in order to make the player feel small and vulnerable.
You even pause the game and access menus by covering your eyes with your hands! Hooray for a lack of object-permanence!
It is a promising start to the game.
But instead of expounding upon this and turning an otherwise mundane environment into an intimidating one, the design quickly shifts into a blatantly-imaginary, whimsical dreamscape. This disconnect from reality suddenly shatters the immersion of the child character, and squanders the inherent novelty of the game's central concept...
The mother plays an important role in the narrative,
but the player doesn't interact with her long enough to develop any attachment to her.
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