Il Black Lotus è una delle carte più rare e preziose di Magic: The Gathering, con quotazioni che possono superare gli 85.000 euro.
Fa parte delle cosiddette Power Nine, o P9, ovvero l'insieme di carte così potenti e introvabili da infiammare il mercato mondiale dei collezionisti, inserite nella speciale lista di carte che non vengono più ristampate dalla casa editrice Wizards of the Coast.
Questa è l'origine della ricerca della magia definitiva stampata su cartoncino del gioco di carte collezionabili più longevo e magico mai inventato.
Il New Yorker approfondisce il fenomeno di Magic: The Gathering, il gioco di carte collezionabili fantasy che 25 anni fa grazie all'intuizione di Richard Garfield ha plasmato un nuovo settore del gaming, rivoluzionando e fondendo la passione per i giochi di carte, il collezionismo e i giochi di ruolo.
In his youth, Richard Garfield, the mathematician who created Magic: The Gathering, liked to play and invent games. Before his family settled in Oregon, in the mid-seventies, he spent many of his early years in Bangladesh and Nepal, places where his father worked as an architect. Garfield didn’t speak Bengali or Nepali, so, to make friends, he would unpack a deck of cards or spill out a bag of marbles. Back in the United States, around the age of thirteen, he began to hear about a game called Dungeons & Dragons—he was told that it had pit traps and orcs and treasure—but his local game store didn't have the rulebooks yet, and none of his classmates knew how to play. A lack of language had never stopped him before; he made something up.
[...] In the game, players were fashioned as "planeswalkers", who cast spells and travel between planes of existence. The spells themselves were the cards, which could be purchased in places like bookstores and comic-book shops. It soon became a common sight to see kids ripping off the wrappers of Magic packs, and—as a blend of chemicals from the bouquet of ink and finish wafted up—taking account of what they possessed of the two hundred and ninety-five cards that Garfield and his colleagues had conceived. The cards had names like "Bad Moon" and "Celestial Prison" and featured beasts such as "Giant Spider" and "Gray Ogre". Garfield devised a set of rules about how many cards to draw each turn, how to charge up magical powers, or "mana", from so-called land cards, and how to cast spell cards and summon creatures to bring an opponent's life total from twenty points to zero. Flowing through this was a strain of wild invention: the cards often gave players the license to bend or change the rules.
To change more rules, you needed to buy more cards. Many of the most powerful cards were rarely printed, which drove fans to crack open even more packs. By November of 1993, under the headline "Professor's Game Casts Magic Spell on Players," the Seattle Times reported that ten million cards had been sold in a few months. "I've wasted—no not wasted—I've used all my money just buying Magic cards," an eleven-year-old boy named Jake told the Washington Post. He carried his deck around with him everywhere he went in case a game broke out. By 1997, Magic: The Gathering was so successful that Wizards of the Coast acquired Dungeons & Dragons. Newsweek noted that Wizards had sold two billion cards. A game like Magic, Garfield told the reporter, could "take over your personal operating system, like a virus."
L'Atlantic racconta l'enorme successo che stanno riscuotendo i giochi da tavolo creati in Europa. A differenza della controparte americana, che storicamente predilige l'attacco diretto tra i partecipanti per arrivare a una sfida decisiva uno contro uno, i giochi europei presentano dinamiche più complesse, relazionali e manageriali che rendono il gioco un'esperienza più completa e coinvolgente per tutti i giocatori.
Since the Eurogame genre came into being roughly four decades ago (the inception of Germany's Spiel des Jahres award, celebrating the "game of the year," would indicate 1978 as a rough date of momentum-gathering), the earliest creators understood something fundamental about the psychology of gaming: While people can tolerate losing, they despise the feeling of being eliminated from a game in progress. And so most Eurogames are designed such that scoring comes at the end of the game, after some defined milestone or turn limit, so that every player can enjoy the experience of being a contender until the final moments. If this sounds somewhat Euro-socialistic, that’s because it is. But such mechanisms acknowledge that no one wants to block off three hours for gaming, only to get knocked out early and bide their time by watching TV as everyone else finishes up.
La recente introduzione della possibilità di usare sino a 280 caratteri su Twitter ha dato vita a un'inaspettata tendenza.
Sfruttare i caratteri aggiuntivi per disegnare tavoli di gioco in combinazione con le emoji per generare partite online di dama, scacchi, Forza quattro, ecc.
A Rochester, nello stato di New York, oltre mezzo milione di giocattoli di tutte le epoche e di tutti i generi sono stati raccolti in uno dei più grandi e completi musei del gioco del mondo, lo Strong National Museum of Play.
Adam Savage ha incontrato l'artista e scultore della Weta Workshop, Johnny Fraser-Allen, che nel tempo libero si sta dedicando alla realizzazione di un incredibile plastico e delle altrettanto fantastiche miniature per un gioco da tavolo basato sul Labyrinth di Jim Henson. Servirà molto, molto spazio per giocarci.
Find the future è il progetto sviluppato da Jane McGonigal e Kiyash Monsef, in collaborazione con la New York Public Library, a metà strada tra una caccia al tesoro, un gioco di ruolo e la realtà aumentata. Scopo del gioco: scrivere un libro.
Find The Future at NYPL brings visitors to the Library together with players around the world to tap into the creative power of the Library's collections.
It is first game in the world in which winning the game means writing a book together – a collection of 100 ways to make history and change the future, inspired by 100 of the most intriguing works of the past.
Starting May 21, 2011, visitors to the Stephen A. Schwarzman branch of the NYPL can play the game with their personal smartphones, or on Library computers. Global players will join the game with any computer that has access to the Internet. The game is free to play.
The game is designed to empower players to find inspiration for their own extraordinary futures – by bringing them face-to-face with the writings and personal objects of people who made an extraordinary difference in the past.
The game starts with a special, invitation-only event on May 20, 2011. As part of the Centennial celebration weekend, hundreds of gamers will earn the chance to join a special once-in-a-lifetime event: an "overnight lock-in" at NYPL's Stephen A. Schwarzman building. This "write all night" lock in will serve as the official kick-off for the Find The Future game.