ICO 2020

Líneas ICO renovadas para 2020   CONDICIONES • Hasta 12,5 millones de euros por empresa. • Plazo de amortización de hasta 20 años. • Tipos de interés desde el 2,346%.     PARA • Todo tipo de empresa, autónomos y emprendedores. • Necesidades de inversión o liquidez. • Dentro del territorio nacional.   Analizamos tu caso sin compromiso. Consigue tu informe gratuito de evaluación previa. Déjanos tus datos y te llamamos Si lo prefieres puedes llamarnos al 981 90 49 49 (de lunes a viernes de 9 a 16 horas)

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Financiación de liquidez

Uno de los problemas más habituales que nos plantean nuestros clientes son las tensiones de tesorería (normalmente derivadas de sus plazos de cobro a clientes) que les complican los pagos a proveedores y provocan, a largo plazo, un encarecimiento de sus compras. La primera reacción de muchos empresarios para estos problemas de circulante es buscar un préstamo, un colchón de liquidez que les dé mayor seguridad a la hora de operar. Pero normalmente no es la estrategia correcta. A día de hoy, lo mejor para gestionar el circulante de tu empresa son el factoring y el confirming. Con el factoring puedes reducir tus plazos de cobro a clientes y minimizar así las tensiones de tesorería derivadas de tener que aguantar durante 30, 60 o 90 días (si no más) las facturas emitidas hasta cobrarlas. Con el confirming la entidad financiera asegura a tu proveedor el pago y le da la opción de adelantarlo con un coste. De este modo, con la venta asegurada y opción de adelantarla, el proveedor está siempre más dispuesto a negociar las condiciones. También está la opción del "confirming pronto pago" que, con coste para tu empresa (el comprador), financia el pago al proveedor. Es decir, tu proveedor cobra al instante pero tú pagas a la entidad más tarde (hasta 180 días). Estas son las líneas que más están favoreciendo las entidades a la hora de financiar el circulante de las Pymes. Si quieres optimizar tu estructura de circulante... Déjanos tus datos y te llamamos Carina

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And I'm Still Losing...

What's going on everyone!?

Today for the #2019gameaday challenge my lovely wife, beautiful daughter and I played a game of Hero Realms with the Wizard, Thief and Ranger expansions. 

Unfortunately, I still cant post pictures unless they're screenshots because there is an error with the blogger app but rest assured I really did lose, lol!

Trinity ended up killing me and doing a great job as usual but this time Sam ended up finishing her off before she could regain any health and take her mother out as well.

As always, thank you for reading and don't forget to stop and smell the meeples! :)

-Tim

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Check the confidentiality of your information (according to our security service, your account has been hacked).

_Hello!

Í am a hacker who has access to yoür operatíng system.
Í also have full access to yoür accoüňt.

Í've been watchíng yoü for a few months now.
The fact ís that yoü were ínfected wíth malware throügh an adült síte that yoü vísíted.

Íf yoü are not famílíar wíth thís, Í wíll explaín.
Trojan Vírüs gíves me füll access and control over a compüter or other devíce.
Thís means that Í can see everythíng on yoür screen, türn on the camera and mícrophone, büt yoü do not know aboüt ít.

Í also have access to all yoür contacts and all yoür correspondence.

Why yoür antívírüs díd not detect malware?
Answer: My malware üses the dríver, Í üpdate íts sígnatüres every 4 hoürs so that yoür antívírüs ís sílent.

Í made a vídeo showíng how yoü satísfy yoürself ín the left half of the screen, and ín the ríght half yoü see the vídeo that yoü watched. Wíth one clíck of the moüse,
Í can send thís vídeo to all yoür emaíls and contacts on socíal networks. Í can also post access to all yoür e-maíl correspondence and messengers that yoü üse.

Íf yoü want to prevent thís, transfer the amoünt of $950(USD) to my bítcoín address (íf yoü do not know how to do thís, wríte to Google: 'Büy Bítcoín').

My bítcoín address (BŤC Wallet) ís: 18Jro9LNFqBQarcc63WYGf3w7PdDAiwXpk

After receívíng the payment, Í wíll delete the vídeo and yoü wíll never hear me agaín.
Í gíve yoü 48 hoürs to pay.
Í have a notíce readíng thís letter, and the tímer wíll work when yoü see thís letter.
Fílíng a complaínt somewhere does not make sense becaüse thís emaíl cannot be tracked líke my bítcoín address.
Í do not make any místakes.

Íf Í fínd that yoü have shared thís message wíth someone else, the vídeo wíll be ímmedíately dístríbüted.

Best regards!

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Teeming With Life

Exoplanets is a fairly simple tile placement game in which players score points by placing and advancing life on the planets with the most advantageous location within the solar system. Play consists of drawing tiles that represent new planets and placing them in one of four rows that extend outward from the central "sun." Where a tile is placed helps determine what resources a player gains from placing the tile; each tile gives its own resource, and also gains one from the tile it is placed next to.

Resources are then used to add life to planets. The cost is determined by the type of planet, and these costs can be modified by "space tiles" that players pick up when placing new planets. Additionally, a space tile played in this manner will often affect other nearby planets, either in the same row or the same "orbit," the corresponding position in the other three rows. This is where the game steers away from the standard engine-building and lack of player interaction that is characteristic of most eurogames, as a well-placed space tile can often force a player to change where they're placing their life tokens.

Life tokens are gradually piled up onto a planet until one player has four, at which point they are exchanged for a species token. At this point all the other players' life tokens are removed from that planet, which adds to the games strategy -- will you try to race with the other players to see who can add life more quickly to the easier planets (the ones that require fewer resources to play on), or will you take your time to build on a more difficult planet in order to avoid the competition?

The game ends when the last energy resource is taken from the center of the board, which is normally also when the last empty spot is filled with a planet tile. At that point players score based on how much life they've put into play, with modifiers for placing life on planets with more difficult requirements.

I like this game because it's managed to put together some fairly familiar game mechanics (tile placement, resource collection, area control) in a unique way. I can't point to any other games that it has much in common with. On top of that the rules come with several variants to keep game play from getting stale, and there's an expansion that adds new space tiles, different types of central stars, and a gravity well that allows players to change around the types of energy they have to spend.

Rating: 4 (out of 5) A neat game with some unique game mechanics and simple, clear graphic design.

• Exoplanets official website
• Exoplanets on Board Game Geek

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Tech Book Face Off: Don't Make Me Think Revisited Vs. The Non-Designer's Design Book

I read a lot of technical books about programming languages, development methods, and coding techniques. Those books help enhance my skills in what I do most of the time, which is embedded firmware development, and what I'm interested in, which is learning new programming languages and new ways of solving problems with software. Every once in a while I feel like I should dip my toes into the design side of the pond so I can get a better sense of how to design features that will make the stuff I build easier to use, and so I can better understand the reasons behind what makes a particular design good or bad. For this dip in the pond, I chose Don't Make Me Think Revisited by Steve Krug, a safe book considering that I've already read and loved the previous version of the book. I also picked up a book I've been meaning to read for a while: The Non-Designer's Design Book by Robin Williams, off of a reading list from Joel Spolsky's blog. These books were both quick, enjoyable reads, but let's break it down a little more.

VS.

Don't Make Me Think Revisited

I did read this book before, but it has been quite a while. From what I remember of the original, this version is not too different, and that is not at all a bad thing. The most noticeable change was the addition of the chapter on mobile usability, but otherwise most of the material was immediately recognizable. It is definitely true what Krug says in the preface, good usability design is timeless because the main subject, humans, don't change much year-to-year or decade-to-decade. The technology may be changing rapidly, but the principles remain the same. All he really had to do in this edition was freshen up the examples, give a nod to the new kid on the block, and ship it.

You would expect a web usability expert to deliver the goods on a book about usability, and Krug does so in spades. The book is superbly organized and formatted. Examples are clear and relevant. Explanations are concise and direct. This book is such a quick and easy read, it would probably be worth giving it a run through once a year. It'll only take a couple hours, and the benefits of a refresher on good design principles would pay that time back easily.

Krug starts off with his big idea, printed in bold right on the cover. Design for the web (and for anything that humans would use, really) should make things as easy as possible for the user. Don't put up roadblocks. Don't make things obscure. Be consistent. He tries to throw as much common sense at you as he can think of, and it all sounds so reasonable and obvious as you're reading it, you'll wonder why you didn't already know it. I could quote him all day, but I'll just pick out a few gems, like:

The point is that every question mark adds to our cognitive workload, distracting our attention from the task at hand. The distractions may be slight but they add up, especially if it's something we do all the time like deciding what to click on.

Make things easy on the user because if you don't, you're chipping away at their mental energy and patience. Frustrated users will not stay users for long. The next few chapters get into how we use the web, how to think about designing for that type of use, and how to simplify choices and writing for the web. This advice is all about building things in a way that users expect them to work, and using conventions whenever and wherever possible.

The next couple chapters cover the two main areas that need to be right when designing for the web: navigation and the home page. Navigation can be accomplished in a variety of ways from menus to sidebars to breadcrumbs, but it should always be obvious and present. The home page needs to clearly state the site's and company's purpose, otherwise things can go south quickly for the user:

If their first assumptions are wrong ("This is a site for ___"), they begin to try to force-fit that explanation on to everything they encounter. And if it's wrong, they'll end up creating more misinterpretations. If people are lost when they start out, they usually just keep getting…loster.

We certainly don't want that. After laying out all of these concepts and principles, Krug moves on to advising us to stay out of usability debates because they're irrelevant. We're not going to figure out what's best for users by arguing. We're going to do it by…<drum roll>…usability testing! Also, don't get too caught up in testing methodologies, because this is not a science:

Do-it-yourself tests are a qualitative method whose purpose is to improve what you're building by identifying and fixing usability problems. The process isn't rigorous at all: You give them tasks to do, you observe, and you learn. The result is actionable insights, not proof.

The reason we're not trying to definitively prove things is because it takes too much effort, and the goal is to do quick, frequent usability testing, like once a month for half a day at a time. Making the testing more complicated just means it will get put off and not be done when it needs to be to actually make an impact on the project.

At this point we reach the chapter on mobile design. In many ways it's similar to what we've already learned, but smaller. The principles of simplicity and ease of use become even more important. Following that, we get into how good usability design is about thinking of the user's best interests and being as helpful as possible. Be nice to your users in any and every way you can think of. That includes all types of users, so be sure to make your sites accessible to people with disabilities. The final chapter covers how to practice good usability design where you work and how to bring these principles into a place where the culture may not currently be in alignment with them.

This book is packed full of great advice, and it's such a quick and engaging read that there's no excuse to not have already read it. I highly recommend it, and be sure to get a paper copy for the full, beautiful experience.

The Non-Designer's Design Book

This design book is on the other end of the spectrum from Don't Make Me Think Revisited. Whereas that book was all about how to make a website as easy to use as possible using visual elements, this book is purely about how to make it look good. It's not even about designing websites at all, with the majority of the focus being on print, even though the same principles will apply to websites as well. Thankfully, The Non-Designer's Design Book is geared specifically for beginners like me, so it starts off gentle, direct, and simple and stays that way throughout.

The book is organized into three main parts, starting with the basic design principles. These principles are contrast, repetition, alignment, and proximity, which makes a nice, memorable acronym.

• Contrast is the idea that similar things in a design should be made the same, and things that are different should be made very different. The contrast will draw the eye, so the differences should be for important things that the designer wants the reader to pay attention to. 
• Repetition is pretty straightforward. Having consistency in a design through repeated elements improves organization and makes it feel as though care was put into the piece instead of it just being thrown together.
• Alignment is how different elements line up in a piece. Things that are aligned along the same edge will be visually connected, and it's important to not have too many different alignments (left, centered, right) or the piece looks busy and disorganized. Also, stay away from centered alignment most of the time. It's overdone and lazy.
• Proximity refers to the fact that related elements should be grouped together, and unrelated elements should be spaced apart. This advice includes headers, which should be spaced closer to the text that they introduce.

These four principles seem simple, and once you fully understand them, they are. Williams does a great job of getting the reader to that understanding through plenty of excellent examples. They serve to bring out each of the concepts that she's discussing, and the variety and appropriateness of the examples keeps the reader interested and engaged. As you work through the book, some examples are brought up more frequently, with slight or even major changes done to illustrate points, explore closely related concepts, and contrast opposing design ideas. This use of examples was by far the best part of the book, creating a terrific, visual learning experience that really brought home the ideas she was trying to get across.

On the other hand, she is not the best writer. Explanations are terse, disjointed, and abrupt with a lot of redundancy and that unique designer-y language that only experienced designers seem to fully understand. Her reasoning on alignment is one of her better discussions, but still shows some of that flowery designer wording:

Lack of alignment is probably the biggest cause of unappealing documents. Our eyes like to see order; it creates a calm secure feeling in its clarity. Plus it helps to communicate the information.

While this argument is mostly understandable, it does tend toward hand-wavy subjectivity. There is plenty of talk throughout the rest of the book about "energy" and "sophistication" and other design subtleties. But in the end, the designerese matters not at all because the examples are the focus of the book. They carry the weight of the ideas with the explanations serving a minor supporting role. 

The second part of the book discusses how to design with color, and how colors are organized into primary, secondary, and tertiary colors. Williams discusses complementary colors, shades, tints, and print vs. screen color models. Then she has a chapter on advice for all of the different kinds of print works like flyers, newsletters, and postcards. The first design type is business cards, believe it or not. This was not the most interesting part of the book, to be sure.

The last section brought me back to attention with a detailed discussion of typography. She has some good, definitive rules to follow on using various punctuation marks, capital letters, and not using underlining. Then she gets into the different ways to choose typefaces so that they are in concord, conflict, or contrast. Concord and contrast are desirable, but that no-man's land in the middle should be avoided:

Most designers tend to wing it when combining more than one typeface on a page. You might have a sense that one face needs to be larger or an element needs to be bolder. However, when you can recognize and name the contrasts, you have power over them—you can then get to the root of the conflicting problem faster and find more interesting solutions.

The idea of naming things to gain an understanding and control over them is a major theme in the book, and it certainly seems to work well in design. Once you can identify what's good or bad about a design, it's much easier to see how to change it or make it better.

The last couple main chapters are about the categories of different type faces and a more detailed look at contrast in typography. Both chapters are excellent with plenty of good examples and even more variety in typefaces to generate ideas. The book then wraps up with some exercises, quiz answers, and a typeface index.

It's quite difficult to do this book justice in a written explanation. The design is, of course, beautifully done with some of the best visual examples I've seen in any book I've read. They're right up there with HTML & CSS: Design and Build Websites. Williams sticks to a few main themes including the one just mentioned about control through naming. She also repeatedly beats you over the head with not being a wimp when using a design concept. Go big. Go bold. Another theme is to not make anything look like a mistake by making two things too similar but slightly different. Either take the time to make them exactly the same or make them very different. These are all good pieces of advice that will help improve our designs.


I can't think of any good reason not to read both of these books. They're each excellent books on their own sub-topic of design. Don't Make Me Think Revisited is the epitome of a great design book on usability, and The Non-Designer's Design Book is likewise for the difficult-to-understand world of visual design. Combined, these two books make a nice design book set for anyone looking to get a handle on the scary, impenetrable task of creating something to put in front of users, and hopefully survive the experience. Seguir leyendo

The Nocturnal Financier

I may be a lot of things, but I'm essentially a Capitalist. A Capitalist believes in nocturnal finance. The way you retire is to have your money work for you while you sleep. For many, that's a 401K, but for the small business owner, it's the exploitation of labor, to quote Marx. Most small business owners have little in savings, and I'm ashamed to say, I'm not an exception.

To be a Capitalist is to put your eggs in the nest of others, hoping they'll warm and nurture them in exchange for payment. It's also to accept the rightness of your willingness to work for others back in your day as a nest warmer. That's the main difference between my nest egg and the nest egg of an employee. Rather than relying on the numerical supremacy of an index fund, I let some kid in their 20's, with little nest sitting experience, sit on my valuable eggs. Hopefully you discover the cracks early enough.

This Capitalist egg sitting may seem to fly in the face of the general social welfare, but I believe we can work towards a more equitable society while insisting people take the initiative to improve their individual situation. Only a cretin truly believes there's a level playing field. The game is rigged. Sometimes it's rigged in my favor but most of the time, not so much. I like the game, but it is a system designed by the winners to keep them winning. I know we can fix the game with a well thought out expansion (with a lot more players), rather than tossing the game (an egg toss).

I vacuumed my million square feet to get to my exalted seat known as "the middle." If I can keep the balls in the air long enough, I may slowly recede from my business while others do the heavy lifting. Because I have a bad back from that heavy lifting and no workers comp insurance. If I can raise up, mentor, or at least pay well my employees along the way, I consider that a double victory. One manages a game store now. Another is head buyer at a major distributor. I am a stepping stone, so I can't take credit for their victories, but I hope we came together to build something wonderful that positively impacted their future.

All of this could come crashing down with a couple bad months. Perhaps I injure myself. I have key man business insurance if I die, but a good maiming? Not covered. Perhaps a national tragedy keeps people at home. A major Bay Area earthquake, long overdue, could eliminate my entire community in a moment. There is no backup plan, no unemployment, no explaining the situation to the boss. The vast majority of my nocturnal capital is tied up in worthless cardboard. Does this instability and painful chance of failure make the true socialist feel any better about my exploitation? Doubtful, but there it is.

The restless sleep of the nocturnal financier means you're never quite rested. I taught my young nephew the phrase, "I'll sleep when I'm dead!" It angered his mother, but it should be the mantra of the small business owner. No safety net. No rest. No real time away. The boss is a jerk. The customers are unreasonable. The employees are stealing. Your partners carry knives for the inevitable stab to the back. I can't imagine life any other way, and if I had to have my labor exploited again, if I had to mind someone else's eggs, I would be longing for the sleepless nights of the nocturnal financier. Seguir leyendo

The Inspirations Of Oceanhorn 2: Knights Of The Lost Realm - Part 1

The best thing about being a small team of developers is that we get to come to work and exchange opinions on what games we played lately, what retro titles our colleagues should check out, and what we could learn from the design of this or that game.

By popular demand, we decided to go over some of the games we think had some influence on our work for the Oceanhorn series, and in particular on its newest chapter, Knights of the Lost Realm.

   

Our first guest is Miko, Cornfox & Bros Game Artist. "I work very closely with Heikki (Cornfox's Creative Director) to create the visual style of the game. I focus mostly on environment art, but have worked on other things as well," says Miko, "We're trying to capture the feel of the original Oceanhorn, but the transition to the new Unreal Engine physic-based rendering opened up new possibilities for the series."  

Knights of the Lost Realm sports a world inspired by quite many late-90s RPG games: in contrast to what came before, often set in a medieval world of knights and castles, here we have both technology and industrial elements seamlessly integrated into a "classic" RPG setting. Breath of Fire 3, Grandia and Alundra (all from 1997) are good examples of this style, where coal, electricity, and gritty backdrops are mixed with classic RPG stuff.

"The world of Oceanhorn 2 is not completely industrialized, and in most areas it doesn't go as far as many of the environments do in FFVII, for example." continues Miko, "We are big fans of this classic though, and one can most likely see the influence Midgar had had on Arcadia's capital, the White City. Like Midgar, it has a circular design and you can see gigantic pipes rising over the walls of the city, but unlike Midgar it's not a dystopia. The White City is a beautiful and bright place, where the sun is always shining. In a way, we try to bring the scale of things to a level similar to what you see in FFVII: even if we use a different aesthetic approach, you feel like you could easily just walk on the pipes."

The more advanced technology in Oceanhorn 2 quite often have rounder and smoother shapes, much like some of the vehicles found in Akira Toriyama's work. The Yellow Bird, Trin's airship, is the perfect example of this rounder design. The most advanced Arcadian tech takes this up a notch, featuring an even sleeker and aggressive design, inspired by modern sports cars or jet planes.

"And then we have the Living Fortresses," says Miko, "compared to the original Oceanhorn, we had a bit more technical freedom with the art, so we tried to make them look even more sophisticated and dynamic. If the Living Fortress in the first title was our version of the Metal Gear Rex, the Living Fortresses in Oceanhorn 2 are an evolution on that, Cornfox's Metal Gear Rays."

If you want to know more about the games and styles that inspired us during the development of Knights of the Lost Realm, stay tuned for Part 2!

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(22MB) Download Subway Surfers For Free

(22MB) Download Subway Surfers for Free

SCREENSHOT

System Requirements Of Subway Surfers Download For Free

• Tested on Window 7 64 Bit
• Operating System: Window XP/ Vista/ Window 7/ Window 8 and 8.1/10
• CPU: 2.0 GHz Intel Pentium 4 or later
• RAM: 512 MB
• Setup size: 22 MB
• Hard Disk Space: 200 MB

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People Behind The Meeples - Episode 207: Jeremiah Donaldson

Welcome to People Behind the Meeples, a series of interviews with indie game designers.  Here you'll find out more than you ever wanted to know about the people who make the best games that you may or may not have heard of before.  If you'd like to be featured, head over to http://gjjgames.blogspot.com/p/game-designer-interview-questionnaire.html and fill out the questionnaire! You can find all the interviews here: People Behind the Meeples. Support me on Patreon!

---

Name:	Jeremiah Donaldson
Email:	jerry@ephiroll.com
Location:	London, Ky
Day Job:	Was in call centers the last 5 years, but that's bad for my health and I'm in the process of switching things up.
Designing:	Five to ten years.
Webpage:	http://www.ephiroll.com
Blog:	http://ephiroll.com/wordpress/
Facebook:	Ephiroll Productions
YouTube:	Jeremiah Donaldson
Other:	https://ello.co/ephiroll
Find my games at:	Everything is on Amazon, my card games are also on The Game Crafter, and my RPG stuff is on DriveThruRPG.

Today's Interview is with:

Jeremiah Donaldson
Interviewed on: 8/17/2019

Jeremiah Donaldson is a designer and author from London, but Kentucky, not the UK. He's written several sci-fi and horror stories and designs games set in the worlds he's created for those stories. Read on to learn more about Jeremiah and the projects he's working on.

Some Basics
Tell me a bit about yourself.

How long have you been designing tabletop games?
Five to ten years.

Why did you start designing tabletop games?
It's an extension of my writing.

What game or games are you currently working on?
Death Derby expansion stuff (combat racing game), Post-apocalyptic Escapades (a 18+ RPG game), and Full Moon Tech (a capture type game in which rival biotech companies try to capture the most werewolf DNA before the government).

Have you designed any games that have been published?
Death Derby and The Disturbance Timeline RPG with its two modules.

What is your day job?
Was in call centers the last 5 years, but that's bad for my health and I'm in the process of switching things up.

Your Gaming Tastes
My readers would like to know more about you as a gamer.

Where do you prefer to play games?
Home.

Who do you normally game with?
Friends and family.

If you were to invite a few friends together for game night tonight, what games would you play?
It'd probably be up to them and it'd probably be Death Derby.

And what snacks would you eat?
Doritos.

Do you like to have music playing while you play games? If so, what kind?
Industrial Rock stuff (like Powerman 5k) and/or Industrial Techno (like Phosgore).

What's your favorite FLGS?
Don't have one.

What is your current favorite game? Least favorite that you still enjoy? Worst game you ever played?
My current favorite is my game Death Derby, there's not been repeat race in nearly 500 hours of playtime. Yahtzee. You Are the Maniac.

What is your favorite game mechanic? How about your least favorite?
No favorites, I just do what needs to be done to do what I want something to do and then to smooth it out.

What's your favorite game that you just can't ever seem to get to the table?
Any old Shadowrun tabletop game.

What styles of games do you play?
I like to play Board Games, Card Games, RPG Games, Video Games

Do you design different styles of games than what you play?
I like to design Card Games, RPG Games

OK, here's a pretty polarizing game. Do you like and play Cards Against Humanity?
No

You as a Designer
OK, now the bit that sets you apart from the typical gamer. Let's find out about you as a game designer.

When you design games, do you come up with a theme first and build the mechanics around that? Or do you come up with mechanics and then add a theme? Or something else?
I'm a writer, so the theme is always first. Furthermore, my main card games are an expansion of my RPG. Death Derby is the vehicle combat section pulled out and made into a game and Post-apocalyptic Escapades is a super stripped down version of the RPG itself.

Have you ever entered or won a game design competition?
No.

Do you have a current favorite game designer or idol?
Sid Meier

Where or when or how do you get your inspiration or come up with your best ideas?
Everywhere, but I also have a sandbox SF world that covers the next 2k years of human history that my SF and most the game stuff is set on.

How do you go about playtesting your games?
Extensively.

Do you like to work alone or as part of a team? Co-designers, artists, etc.?
Alone. Anything I need done is essentially contracted out as needed. Some playtesters also double as actors and cameramen, etc.

What do you feel is your biggest challenge as a game designer?
Marketing, but that's more on the publishing side.

If you could design a game within any IP, what would it be?
Arcanum: Of Steamworks and Magick Obscure

What do you wish someone had told you a long time ago about designing games?
Try it out sooner.

What advice would you like to share about designing games?
Playtest, playtest, and playtest. Then when you think you've playtested enough, playtest some more.

Would you like to tell my readers what games you're working on and how far along they are?
Published games, I have: Death Derby and The Disturbance Timeline RPG
Games that will soon be published are: Death Derby: Nature's Rage expansion
Games I feel are in the final development and tweaking stage are: Death Derby: High Octane
Games that I'm playtesting are: Post-apocalyptic Escapades
Games that are in the early stages of development and beta testing are: PA Escapades expansions: Mad Mansion and Escape from Xan
And games that are still in the very early idea phase are: Full Moon Tech, along with a few others: Scavenger Lords that stalled before Alpha, Post-apocalyptic Arena that failed initial playtests and was reworked into PA Escapades, and a serial killer capture game that was a collaboration which stalled a short ways into playtesting and inspired Full Moon Tech.

Are you a member of any Facebook or other design groups? (Game Maker's Lab, Card and Board Game Developers Guild, etc.)
The Game Crafter, the majority of FB groups are swamped with beginner questions and too noisy for real work.

And the oddly personal, but harmless stuff…
OK, enough of the game stuff, let's find out what really makes you tick! These are the questions that I'm sure are on everyone's minds!

Star Trek or Star Wars? Coke or Pepsi? VHS or Betamax?
Both. Pepsi. VHS.

What hobbies do you have besides tabletop games?
Writing, gardening, and taking care of my place.

What is something you learned in the last week?
That all the call centers in my town have bad air and I have to find another line of business to pay the bills.

Favorite type of music? Books? Movies?
Industrial. Non-fiction science and history. The ones not many others like like American History X and Fight Club.

What was the last book you read?
Several stories out of Stephen King's Everything's Eventual.

Do you play any musical instruments?
I wish.

Tell us something about yourself that you think might surprise people.
I'm going to try making my 1/2 acre of property self sufficient.

Tell us about something crazy that you once did.
I chased my married friend's husband out the door on break to apologize and risk a punch in the jaw to keep anyone involved from losing a job.

Biggest accident that turned out awesome?
I got a horrible infection in my left leg that cost me a job, but the job I went to is where I met a friend that helped me a great deal.

Who is your idol?
Neil Degrasse Tyson

What would you do if you had a time machine?
Probably run back and forth in time like I was on a road trip.

Are you an extrovert or introvert?
Introvert with short periods of extroversion.

If you could be any superhero, which one would you be?
Tony Stark

Have any pets?
Cats

When the next asteroid hits Earth, causing the Yellowstone caldera to explode, California to fall into the ocean, the sea levels to rise, and the next ice age to set in, what current games or other pastimes do you think (or hope) will survive into the next era of human civilization? What do you hope is underneath that asteroid to be wiped out of the human consciousness forever?
I think any game has a chance, which is why I want to make a couple stand alone card games, and the more those games teach as far as strategy goes, the more useful they'd be to anyone that finds them. Nothing would be wiped out though. Everything comes back around after enough time just like bell bottoms.

Just a Bit More
Thanks for answering all my crazy questions! Is there anything else you'd like to tell my readers?

I hope the interview thing doesn't bug out this far in. :)

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Thank you for reading this People Behind the Meeples indie game designer interview! You can find all the interviews here: People Behind the Meeples and if you'd like to be featured yourself, you can fill out the questionnaire here: http://gjjgames.blogspot.com/p/game-designer-interview-questionnaire.html

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