WOO! Final part of Hamilton the Game. Thank you all for your likes and shares, and @linmanuel for your enthusiasm and seal of approval! I hope you all enjoy this series as much as I loved making it. #YAYhamlet! :D
Part 4 of 4: Here are the descriptions/mission for each game:
Follow the Money: Maddison, Jefferson and Burr (interchangeable leads) suspect Hamilton of misusing government funds. Help them track down the money and find out what Hammy’s really up to!
Cut Scene: DAAAAAAAMN!!!!
BATTLE! I Hope you Burn: Play as the Schuyler sisters (interchangeable leads) as they take down Hamilton for his infidelity. This is definitely how Eliza reacted. fact. canon.
DUEL! Philip Hamilton vs George Eacker: Philip can’t have anyone disparaging his father’s legacy. Summon all the courage you require in this duel against Mr. Eacker!
Cut Scene: Unimaginable
Cut Scene: Can we get back to politics? Please? Choose your player.
Election of 1800: Did you choose Jefferson or Burr? Out-scream your opponent to win Hamilton’s vote!
Cut Scene: Obedient servant
DUEL! Aaron Burr vs Alexander Hamilton: It’s the ultimate showdown! Do you run, or fire your gun, or let it be?
AND PEGGY! Bonus Game: Live fast, die young, marry rich, REGRET NUTHIN’! Collect as many coins as you can in 30 seconds. (find the hidden easter eggs (easter…Peggs) within the games to unlock this bonus game!)
5 Reasons: CHOOSE MUSIC FOR YOUR STRONGEST PLAYERS IN YOUR ORCHESTRA, NOT YOUR WEAKEST
1. CHALLENGE YOUR STUDENTS THAT WANT TO WORK FOR YOU AND WILL
Many directors choose music that their weakest player can play. I am the opposite. I focus more on my top students and push them as far as I can take them - within reason. I’m not going to choose college level repertoire for my middle school orchestra, but the music I choose is challenging, but doable for everyone if they choose to work.
RESULT: higher level of musicianship
2. INDIVIDUALLY STRONG ORCHESTA
I find that the students who are in the back of my orchestra are not necessary the weakest players. These are my laziest players. I have two competing orchestras. One is for the most advanced/willing to work hard students and the other is for students who love orchestra and to play, but do not want to put in the work to advance.
RESULT: one orchestra who have a common goal to work hard
3. MAKE MUSIC
Even middle school students can make beautiful music and there are wonderfully written pieces that are within the playing ability of intermediate students.
RESULT: An orchestra that is more musically focused, not ‘play the notes on the page’ focused
4. HIGH SCHOOL READY
I feel that many students who continue into their high school orchestras are not at the level they need to be at when they leave middle school. One of my goals for my students is to make that transition easier for them. The expectation is to practice and work hard from day one. Many of my students make the varsity orchestras in the high school orchestra program their freshmen year.
5. ELIMINATE THE VERY ANNOYING ‘THIS IS TOO EASY’ COMMENT
I try very hard to never give them something that they can sight-read through perfectly. I want them to struggle and complain because then they will work and become better musicians. It also helps my entire program strive to practice and be better musicians because they know that there is no limit to what they can learn.
I will be truthful, I have never had a player choose to devote themselves to the dark-arts … in-game, obviously. Well, and out of game. Usually they avoid the venerable school with a distance rivaled only by that given to inconspicuous props upon pedestals in wide, empty dungeon rooms. Perhaps its a dislike of suiting the stereotypical (yet badass) summoner of souls and entrapper of the dead, perhaps its a desire to pursue a more immediately rewarding school such as evocation or illusion. I say bah-humbug to this. If someone wishes to play in my game and hang out in haunted graveyards, chanting ‘til the pale moon sinks beneath the horizon, then I say good on you, pal.
Here are some enticing items to tempt the pure and incorruptible over into the blackest fifth and rotten waste, where mortal pleasures and obsessions are diseases to be cured through the sacrifice and suffering of the pursuit of true knowledge. Unlock that fascination, surrender to the whispers, take our hand and join us beneath the cloaking shadows of the dungeon walls.
Hooded-Cowl of the Antler
A warm and well-made cowl which tussles and dances in the midnight winds. A beautiful inner of amber weave gleams like torchlight under the absorbing darkness of the exterior; empty as sorrow, lonely as a blackened tide washing over barren shores of ancient bones and tattered flotsam. The collar ties loop together over the chest around an iron ring, and the hood obscures face and eye from any passing observer. The wearer, upon command, can pull forth from the speechless depths of the earth a great, prideful stag of ashen bone and gleaming frost. It howls out onto the wilderness and slowly lowers its head toward its master, offering a ride upon its icy spine. The stag can run as fast as any horse, living or dead, and can outrun a jackal pack over open ground. It leaves behind a path of frigid air, with pebbles and stones lathered in peeling cold for hours beyond its passing. Those unfortunate enough to cross this trail risk having their blood lock in their veins as they idly step through its trail.
This decoration is a rotten, gnarled length of thick rope, tied around the wearer’s neck with a clubbish knot hanging below the chin. The trailing fibers are frayed and sliced to wire-thin strings. This necklace, or sorts, is worn by those who have survived executions and certain death through one means or quite another. The gallows aren’t suited for them, and many executioners recognise such a symbol; one of an untouchable status. This man should be dead. Whilst the Gift is adorned, the wearer doesn’t require food, water, nor even air to survive. They live on through the worst that life can throw at them, and much beyond that.
The Motley blade is a tidy-little throat slicer. Its a short, silver blade, barely an inch long, secured upon an ivory grip. Its sheath is that of a simple, black leather with a crude zig-zag stitching around its opening. When the Motley dagger earns its name and separates a man from his life with an abrupt, yet precise, infliction, that same body that dropped not two seconds ago jolts back to its feet at his killer’s side. Most guards have seen a murder in their time, so corpses scares them little. Some have even witnessed petty undead, so a shambling body upon its twisted ankles and bloated joints is nothing to panic over. But none had seen the smiles that the Motley carver grows over its victim’s lifeless mugs. Certainly none had heard the screams of the dead men inside as they watched in horror, helplessly passive as they see their own, empty forms stride forth towards friend and fellow alike with a feral madness burning in their bloodshot, and crow-pecked eyes.
These arrows are made of human bone. Their feathered ends are human hairs, the shaft is a carved femur, and the head is a incisor tooth, carved to a needle’s edge. They feel heavy to hold in mortal hands, like all of the goodness in the world and your head bleeds out onto the floor as you level it upon your pale palm. The munition is said to be made exclusively from the skeletons of priests and paladins from wherever they may be found. No-other would do, clearly. For when you test the wrath of the divine you may as well go full-in. Why not desecrate the holy dead? That query becomes difficult to dispute once the arrow meets a target. The arrow stings like a wasp swarm, digging out the skin, itching the blood like the veins are full of sandpaper. Then the victim’s bones begin to creak like heavy timbers under a sea storm, bending and twisting in horrific pain. Then they splinter and fracture through skin like porcupine quills as the bones begin to pull themselves out of their flesh.
Pipes of the Grave
A lonely city-bard may perchance these wooden pipes of birch and green leather in a lonely shop window on a lonely street they have never once walked. The shop-keep promises through yellowed teeth and dry lips that the instrument is as perfect as a true-lover’s kiss, bringing true emotion to any tale told with heartful passion and intent: a memorable performance if there would ever be one. The bard may yet further be intrigued at the low price, and may further yet buy them with a smile gleaming with the thought of gold and silver coins aplenty. The performances that she plays will sing like mountain cries and wail with forlorn hopes, echoing through every generation’s ears, bringing both youth and elders alike to rapturous applause. The crowd is crying, only not in joy. They scatter like woodlice as the lush grasses of the city park grounds split open into raw dirt and clawing fingers, as the generations lost before join in on the celebrations, tearing their rotten hulks up from the ancient graveyards buried and forgotten below. His performance ceases, and the dead collapse into piles of bone. She discards the instrument, destroys it perhaps, and she returns to her original flute. Unfortunately, once the Pipes have been played, the curse it contracts is not so easily gotten rid of, and the dead will rise wherever she sings.
Note to self: Next time you’re starting up a campaign, as players choose their languages ask them to rank their proficiency in those languages from 1-5. Over time as they become more familiar with using these languages their proficiency can increase, but the basis of these values is to provide some fun colour when it comes to multi-lingual situations.
A full 5 would be their native tongue, which barring extreme incident they never fail when speaking.
A 4 would be where you are considered a fluent speaker, though you might need to stop on occasion to recall a word or two. This might be the language your grandma spoke, so even without actual training or common usage you could get the gist of a given statement.
A 3 would be where you’re most of the way through a language course. You can meander your way through conversation but you’re not up for a position as government translator.
A 2 is half-way through the language course, where you are basically at tourist level of comprehension and can therefore understand the odd word but for the most part you’re best when it comes to locating the nearest tavern.
what she means:
alex debrincat is the top offensive producer in the OHL and certainly the most prolific goal-scorer available to america's U20 team but was cut from the world juniors squad after the first scrimmage because usa hockey is a) biased against chl players and b) has trouble wrapping their minds around the concept that you are allowed to have multiple "skilled" players (ergo, they could have clayton keller AND jeremy bracco AND alex debrincat in the lineup at the same time! wow! revolutionary). additionally, usa hockey has a tendency to fill their rosters based on set roles rather than simply taking the best players. see their process for choosing players for the world cup (we have our "skill" guys and now we want "grit") vs. canada's process (we're taking the best players and it doesn't matter that 12 of our forwards are centres). usa hockey's selection process is clearly flawed and alex debrincat deserved to be on this team but as usual, does not get the benefit of the doubt. look. there is a misconception that alex debrincat's offensive numbers are misleading because ~he has talented linemates~ and a ~bloated shooting percentage~. this is patently false. re: his linemates -- it is a mutually beneficial relationship, here. he benefited from playing w/ connor mcdavid and dylan strome, yes. but in turn, mcdavid and strome benefited from playing with alex debrincat, who is excellent in transition, has a nose for the net, and is a fantastic finisher. re: his bloated shooting percentage -- the reason his shooting percentage is so high is that he shoots from dangerous spots. if you look at data from the great prospect-stats.com, nearly all of his shots are taken from below the half circle, and with the shot that he possesses, that = puck in net. when will people begin realizing that alex debrincat is a star in his own right? he is 5'7" of tenacious skill and by god, i cannot wait to see him prove his worth to the entire world, usa hockey included!!!!!!!!!!
I like the child mechanic in Awakening and Fates but not at all for the child’s stats. I just like seeing certain pairs get together and have a child, and base my favorites based on support conversations. I understand not everyone plays this way and wants the most optimal children possible, but I die a little inside each time I see these players choose pairs whose supports I don’t like.
I think I get on my boyfriend’s nerves, because all I do is look up cute chibi pictures of Teemo, and bitch if he either gets banned or if another player chooses him first. I might have a *small* obsession, but I’m okay with obsessing over Satan. :)
I miss the rival marriages, and I think it would be so neat if they optionally reimplemented it in such a way that lets the player choose who they think would be good together. Sort of like the support system in Fire Emblem! That way, people that like rival marriages can put together whoever they wanted, and people that didn’t like rival marriages wouldn’t have to have them at all.
Gaming study by itaykeren looks at the subject of how scrolling works in 2D video games, the hidden design methods which control the presentation of levels around the playable character:
… I was quite surprised that camera work, a subject with more than 30 years of history in games, was hardly discussed.
Scrolling or Panning refers to any attempt to
display a scene that is larger than what fits in a single screen. There
are many potential challenges with scrolling, like choosing what the
player needs to see, what we as designers would like the player to focus
on, and how to do it in a way that’s fluid and comfortable for the
While I’m going to focus on 2D camera systems, many of these general concepts apply to 3D as well.
The study provides various GIF examples like the ones above, and should be of interest to anyone involved with Game Design.