Spinbowlers is a concept I derived out of a deviantart invitational called Three EMoji challenge The characters are in the gallery immediately linked below. The prototype game is afterward, tell me what you think Three EMoji Invitational Gallery HEre are the rules Seven cards are shuffled out, negative six to positive six with two zeros, two RO cards, meaning roll out and one GG card meaning GalaGyro every time you shuffle the shift value goes to zero and five multiple the times you shuffle is taken from the final score every time you shift, the shift value increments and the sum of shifts is taken from your final score shifting changes the position of cards in ashuffle which can be advantageous The bowling starting point influences the final value as the starting point is given a value of seven points if not RO , all positions from the starting position are given nan incremental less value The spinbowl is seven values emitting numbers zero to six. The game is a match game. Seven spinbowl cards matching seven shuffled cards. if a shuffled card is an RO it is an automatic zero points for that space. If a shuffled card is a GG. Fourteen points if the value spinbowled equals the position of the spinbowled card. Seven points otherwise. If a spinbowl card is [0 to 6] and a shuffled card is [-6 to +6] the sum of the cards is taken. if the sum is between or equaling [0 to 6] the value is the sum, else the value is zero. Bowl positions 2|3|4 USe the status line to see what is going on ENjoy First prototype arcade entry

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Spin Bowlers was thought up as a concept after a deviantart three emoji contest- links are below For the prototype I thought of bowling with spinning objects on an axis only. I didn't embed it like the others in the arcade cause it is a prototype, not a version. This is meant for users to play with it and tell me what you think, what values you used. ANy issues, whatsoever. Well have fun!:) THE PROTOTYPE http://houyhnhnm.github.io/BlackGamesElite/GameRoom/SpinBowlers/index.html THREE EMOJI CONTEST DEVIANTART folder https://www.deviantart.com/hddeviant/gallery/82421031/three-emoji-s-challenge-2022 Spin Bowlers Snake Blossom Id- https://www.deviantart.com/hddeviant/art/Snake-Blossom-id-card-911245998 Pose- https://www.deviantart.com/hddeviant/art/Snake-Blossom-three-emoji-911246082 Bowling Move- https://www.deviantart.com/hddeviant/art/Snake-Blossom-bowling-gif-911245738 Branch Popper Id- https://www.deviantart.com/hddeviant/art/Branch-Popper-id-card-911245502 Pose- https://www.deviantart.com/hddeviant/art/Branch-Popper-three-emoji-911245619 Bowling Move- https://www.deviantart.com/hddeviant/art/Branch-Popper-bowling-gif-911245334 The Slice Twins Id- https://www.deviantart.com/hddeviant/art/The-Slice-Twins-id-card-911246659 Pose- https://www.deviantart.com/hddeviant/art/The-Slice-Twins-three-emoji-911246710 Bowling Move- https://www.deviantart.com/hddeviant/art/The-Slice-Twins-bowling-gif-911246382 Cover image https://www.deviantart.com/hddeviant/art/Spin-Bowlers-cover-image-911245115 Cover Gif https://www.deviantart.com/hddeviant/art/Spin-Bowlers-gif-911246265 Snake Blossom coloring page https://www.deviantart.com/hddeviant/art/Snake-Blossom-coloring-page-911245814 Branch Popper coloring page https://www.deviantart.com/hddeviant/art/Branch-Popper-coloring-page-911245432 The Slive Twins coloring page https://www.deviantart.com/hddeviant/art/The-Slice-Twins-coloring-page-911246527

Jet Dancer vs her Sisters - Solo Dev Indie Game - Construct 3 from DUALMASK

great share, I have always wondered how many great franchises in media are owned and literally sat on by big firms cause to use them is either too costly or the firm isn't inteesting in utilizing their fanbase... rampage and psyhunter... I never knew about the john singleton written game starting snoop dogg in production. The question is what about revisiting fear and respect , in black games elite? PHOTOS TO FEAR AND RESPECT:) the video game:) IN AMENDMENT The biggest tragedy to arcade games is midway, the arcade king missed out on connecting the home market to the arcade market. Nintendo/Sega/SOny/ et cetera don't or didn't have as strong an arcade presence. Midway spent millions on developing games that they didn't finish developing. But it never occured to them, with all that money being spent, millions. in the 80s or 90s that they needed to focus on their main market which was the arcade. They needed to develop games that could be played at home but could also be played at the arcade. Like many firms , when they see a new industry they are so focused on being part of the new industry they miss out on focusing on their main business.

interesting, you can connect to a cathode ray tube, very much for the international world. Starts at $40 . They use a faux nintendo shaped base for the system or ports, like an nes mini. They use a faux playstation controller. the systems when you power it on, super nintendo, sega cd, sega 3ds, turbo grafx, odyssey2, neo geo, nintendo hacks, nes, nintendo 64, sega genesis, intellivision, gambe oy bolor, gambe gear, game and watch, famicom disk system, atari , lynx, atari 7800, amstrad, commadore, amiga, all games, sinclair wonderswan, virtual boy, vectrex, and more He tested, playstation portable/dreamcast/ neogeo/neogeo cd/lynx/MAME/Game boy advance/snes/n64/ds/virtual boy/genesis/nes/neogeo pocket color/intellivision/odyssey 2/2600/5200/7800 Shared from MErgirldunne of BlackGamesElite https://mewe.com/i/mergirlwhitedunne

I thought long and hard and I couldn't see a clear winner. I checked my nintendo 3ds that still has a ton of games on it, all played to the hilt:) and I decided Box Boy + Box Girl I never bought the 4th game but I went to the end of all the box boy games on the DS era, and I enjoyed them all very much.

SOny- JApan Tencent- China Microsoft- USA Microsoft becomes the third with the acquision of Blizzard Activision , Microsoft bought Bethesda last year The Microsoft XBox was meant to be an industry leading dominator, but with the Imagination of little nintendo side the industry first high end gaming marketeer Sony , the space is little. So Microsoft is buying big studios for raw cash. Now I recall people saying, when Disney bought MArvel + Lucasfilm for hundreds of billions it was a wise choice long term. This is the same idea here with Microsoft. Right now, it may seem silly or incompetent. But, these third party publishers are not just their main games. Microsfot said, they will treat games on a game by game basis. So, big titles from these publishers will be as before, published everywhere. But little titles... may find their way to xbox more. In the same way, Netflix had to reorganize when the content producers each made their own streaming platforms, forcing netflix to invest in their own shows. Nintendo will be safe, cause nintendo has never not been proprietary for the most part. But , Sony will be wary of this.

Far Cry the tears of hope - for fans of the game , here is a bande desinee Video announcement EXCERPT Far Cry The Glenat and Ubisoft collection https://www.glenat.com/bd/collections/ubisoft?at_medium=email&at_emailtype=retention&at_campaign=newsletter_glenat_BD&at_creation=&at_send_date=20211221

Enjoy The Head of HAtshepsut Dreadful Fable PLEASE READ Head of HAtshepsut Game Boss Head by HDdeviant on DeviantArt

I really love this post, the truth in it is stunning The truth in the following article about Nintendo's early days is something that saddens me deeply, to read now. I said many of these things absent the ability to cite and people in the usa, in majority would and will refute. Glad to have finally found evidence to show the statian populace in terms of the history of video games.

The Designer Of The NES Dishes The Dirt On Nintendo's Early Days Masayuki Uemura demonstrates a Famicom at Nintendo's Kyoto headquarters on July 1, 1985. Photo: The Asahi Shimbun (Getty Images) By Matt Alt 7/07/20 5:00PM When discussing Nintendo’s rise as a digital dreamsmith in the ‘80s, game designers like Shigeru Miyamoto and Gunpei Yokoi get most of the limelight. But it was the hardware designed by Masayuki Uemura that served up their fantasies to millions around the globe. I spent 2019 criss-crossing Japan researching my book Pure Invention: How Japan’s Pop Culture Conquered the World, in search of the country’s architects of cool. In March of that year I came face-to-face with a true legend: Masayuki Uemura, the engineer who designed Nintendo’s first cartridge-based game system, the Family Computer, aka the Famicom, aka the Nintendo Entertainment System. With a design based on the arcade hardware that powered Donkey Kong, the Famicom quickly revolutionized home gaming in Japan when it was released in 1983. As the NES, it revitalized the home video game market in the United States after the Atari market crashed. From then on, it proceeded to deliver a steady stream of Japanese fantasies into the hearts and minds of people around the world. It’s hard to imagine a world today without Uemura’s machine. Masayuki Uemura joined Nintendo in 1972. Gunpei Yokoi, the inventor and toy designer whose products like the Ultra Hand had transformed Nintendo from a humble maker of hanafuda, Japanese playing cards, into a well-known toy and game company, recruited Uemura away from his previous employer, the electronics company Hayakawa Electric, known today as Sharp. Uemura retired from Nintendo in 2004, and currently serves as the director for the Center for Game Studies at Ritsumeikan University in Kyoto. The university’s leaf-covered Kinugasa campus is a quiet oasis in what is—or was, before COVID-19—a bustling and tourist-packed city. It is also a 10-minute walk from the ancient Zen rock garden of Ryoan-ji temple, whose evocatively arranged boulders and artfully raked gravel seem to me one of Japan’s earliest “virtual realities.” Departments that teach students how to make video games abound in higher education today, but the Ritsumeikan Center for Game Studies is one of only a handful of academic efforts specifically designed to preserve home video gaming equipment and ephemera. Its archives contain everything from early home versions of Pong to the latest consoles, every controller variation under the sun, and an ever-expanding library of software on tapes, cartridges, and discs. The packed shelves of its climate-controlled storage facility look like something out of a kid’s dream, organized with the obsessive rigor of the Library of Congress. The scent in the air is that paper from countless magazines and strategy guides, tinged with the nostalgic ozone smell of vintage electronics. Uemura was 75 years old at the time of our interview, but seemed much younger. A benefit of a life spent making playthings for the world? Whatever the case, there is no mistaking the amusement and restless curiosity in Uemura’s eyes as we sit down over a round of Famicom Donkey Kong to talk about the little beige and burgundy machine that touched so many lives. < Interview> Kotaku: What was Nintendo like when you joined the company? Masayuki Uemura: One of the things that surprised me when I moved from Sharp to Nintendo was that, while they didn’t have a development division, they had this kind of development warehouse full of toys, almost all of them American. Kotaku: What were your impressions of Nintendo’s former president Hiroshi Yamauchi, who ran the firm from 1949 to 2002? Uemura: He loved hanafuda and card games. I remember once, early on, a birthday party for an employee and he showed up and got right into hanafuda with everyone. He was a Kyotoite. It’s a city with a lot of long-running businesses, some maybe five or even six hundred years old. In the hierarchy of the city, traditional craftspeople rank at the top. Nintendo, as a purveyor of playthings like hanafuda or Western playing cards, originally ranked down at the very bottom. Doing business in that environment made him very open to new ventures. He wasn’t interested in specializing. He was keenly interested in new trends. Here’s an example of what I mean. In 1978, he bought around 10 tabletop versions of Space Invaders and placed them in headquarters and our factory. The idea was that we’d playtest them as a form of research. But what ended up happening was the entire company got so obsessed playing it that we couldn’t get a turn in. It was like a fever. Everyone abandoned their posts and stopped working. I was just bummed out that we hadn’t made it ourselves. Shocked and annoyed [laughs]. Kotaku: Did you feel behind the curve compared to other game companies back then? Uemura: In the 70s, we had no idea what was going on with companies like Namco or Atari because we were here in Kyoto. If you lived in Tokyo, you’d probably pick up lots of things about companies like Taito or Sega or Namco or even what was happening in America. But none of that filtered down to Kyoto at all. That’s Kyoto for you—a little standoffish, going its own way, and proud of it. To a certain degree, not even caring about the outside world. A little conservative when it comes to new things. When I worked for Sharp, I took many business trips to Tokyo. But when I started working for Nintendo, that completely stopped. It’s pretty shocking when I think back on it, but Kyoto has always been kind of closed off that way. So no, there wasn’t any sense of us being behind. Kotaku: I’ve heard that the atmosphere inside the company was very competitive, with a big rivalry between Nintendo’s two R&D divisions. Uemura: There wasn’t really any R&D 1 and 2! It was just Yokoi and Uemura. There wasn’t any rivalry! Yokoi found me and recruited me to Nintendo; he was my senpai. It was Yamauchi who set us up as rivals. It was symbolic, which is important in any corporate organization. That’s why he created R&D 1 and 2. Kotaku: How did the Famicom project come about? Uemura: It started with a phone call in 1981. President Yamauchi told me to make a video game system, one that could play games on cartridges. He always liked to call me after he’d had a few drinks, so I didn’t think much of it. I just said, “Sure thing, boss,” and hung up. It wasn’t until the next morning when he came up to me, sober, and said, “That thing we talked about—you’re on it?” that it hit me: He was serious. Kotaku: Were you influenced by other companies’ machines? Uemura: No. I mean, after I got the order I bought every single one, took them apart, analyzed them piece by piece. I looked at the chipsets, saw what CPUs they used, checked out the patents, all of it. That took about six months. Most of it I did myself, but I did have some help from outside resources, people who worked at semiconductor companies. I looked into Atari’s [2600] machine, of course—it was the biggest—and the Magnavox machine. Because those two were the biggest hits, and Atari’s biggest of all. Kotaku: How did you analyze rivals’ game consoles? Uemura: I had a semiconductor manufacturer dissolve the plastic covering on the chips to expose the wiring underneath. I took pictures, blew them up, and looked at the circuitry to understand it. I had some experience with arcade games, and right away I knew that none of what I was looking at would be any help in designing a new home system. They simply didn’t have expressive enough graphics. They had a monopoly on patents for them, circuit structures and features such as scrolling. And they were simply old-fashioned. That’s why I couldn’t use anything from them. Kotaku: Did America’s game industry crash scare you? Uemura: Japan didn’t really experience a video game industry crash like America did. What we had was an LCD game crash. They stopped selling at right around the same time—Christmas of 1983. Kotaku: In US the crash made the very concept of games taboo in the industry for a while. What about Japan? Uemura: In Japan, the issue was that toy stores didn’t know how to carry them. Toy stores didn’t carry televisions. So they didn’t see game systems as things they should carry, either. That’s why a lot of companies tried positioning their products as educational products, with keyboards, more like PCs than game systems. The thinking in the industry was that was the only way to go, back then. The only way to sell a video game was showing it on a screen, and it was a big ask of toy stores, making them purchase TVs. LCD games had their own screens; you could just put them out and they’d sell themselves. Kotaku: Is that why you chose to style the Famicom more like a toy? Uemura: It was less of a choice and more that this was the way it had to be. Kotaku: Why is that? Uemura: Because that was the cheapest way to do it [laughs]. The colors were based on a scarf Yamauchi liked. True story. There was also a product from a company called DX Antenna, a set-top TV antenna, that used the color scheme. I recall riding with Yamauchi on the Hanshin expressway outside of Osaka and seeing a billboard for it, and Yamauchi saying, “That’s it! Those are our colors!” Just like the scarf. We’d struggled with the color scheme. We knew what the shape would be, but couldn’t figure out what colors to make it. Then the DX Antenna’s colors decided it. So while it ended up looking very toy-like, that wasn’t the intent. The idea was making it stand out. Kotaku: And it did. Were you surprised when it became a societal phenomenon? Uemura: I didn’t have time to be surprised! When it really took off, I was totally focused on making the NES for the American market, and also on making the Disk System. I had my hands full. And we were swamped with defective returns. At first we had a very high percentage of defective machines being returned to us. We were just getting so many returns, far more than anything we’d ever seen before. That’s when I realized just how many people out there were playing with them; there hadn’t ever been a system this popular before. That was about the time Super Mario Bros. came out, 1985. Everyone in the company realized we were going to be swamped. Super Mario was fuel on the fire of the fad. Kotaku: Mario arguably became even more of a phenomenon than the Famicom itself. Uemura: Super Mario Bros. was the first to really bring a kawaii perspective to game characters. Actually, Donkey Kong was first to do it, in the arcades, and it established that unique sense of design. Until that point, most games followed the arcade style of shooting game design. Super Mario is often cited as the very first game to connect that style of cute character and cute music together. I’m not sure who specifically on Miyamoto’s team connected the dots, but that’s what happened. Probably Miyamoto himself. Kotaku: After Nintendo went from 3rd or 4th place to 1st in the ‘80s, was there a sense things changed, among people inside the company? Uemura: No! We’re in Kyoto [laughs]. Well, my salary went up. That’s a fact. So I was getting paid more, but the flip side was my job got a lot harder. President Yamauchi’s attitude played a big part in this, but my feeling was one of “seize the day.” Just go for it. You have to remember, there was a time, after Donkey Kong, that we really didn’t make another game for about two years. Well, not exactly, but pretty much. That’s the period Super Mario Bros. was being developed. That game basically ended up including everything and the kitchen sink, gameplay-wise. Kotaku: What led to the decision to export the Famicom abroad? Uemura: There’s a rule in the game industry that fads last for three years. That’s why President Yamauchi targeted America—to get around that. The prevailing sense at the time was that television games would fade into history as they were replaced by personal computers. So we were shocked that the fad kept going. It was Kudo-san, the president of a company named Hudson, one of the Famicom’s first licensees, who said to Yamauchi, “this is a culture.” Yamauchi was like, “What are you talking about?” Kotaku: Japanese games swept the globe starting in the late 70s: Space Invaders, Pac-Man, Donkey Kong. Why do you think this made-in-Japan culture resonated with people all over the world? Uemura: Actually, that’s what I want to ask you [laughs]. Super Mario Bros. isn’t set in Japan, but the character’s Japanese. The name Mario sounds Italian, but he isn’t Italian. They were really able to capture that ambiguity. The number of dots you could use to draw the characters was extremely limited, so Miyamoto was forced to use colors to differentiate them. He spent a lot of time working on the colors. In the end, it became the template for how a designer might express themselves through a game. It was a whole new world. Until video games became able to portray characters, they were nothing more than strategy games like shogi or chess. Once hardware developed to the point where you could actually draw characters, designers had to figure out what to make. Subconsciously they turned to things they’d absorbed from anime and manga. We were sort of blessed in the sense that foreigners hadn’t seen the things we were basing our ideas on. The Designer Of The NES Dishes The Dirt On Nintendo's Early Days (kotaku.com)

Hacking Nintendo Punch-Out To Control It With Actual Punches By Ian Charnas November 17th, 2021 I recently adopted a kitten I found on the street, and every morning we play with the laser pointer. She gets a lot of fun and exercise out of this single-pixel video game, and it got me thinking I should make a video game where I get exercise too! Fast forward 3 months and I’ve hacked a Nintendo Punch-Out boxing game so that you control it with actual punches instead of a controller. It gives you the feeling of actually being inside the video game! You can watch me build and test the game on my youtube video. VIDEO The hardest part of the project was hacking the game to slow the opponents. You see, punching into the air is much slower than pressing a button on a control pad. So, the opponents were moving too fast, relatively, and it wasn’t a fair fight. I had to reverse engineer the source code (a process called “disassembly”) and slow each opponent down one by one. The result is a very fun and playable game that you can try yourself — entirely in your browser — by visiting RealLifePunchout.com ARTICLE LINK https://makezine.com/2021/11/17/hacking-nintendo-punch-out-to-control-it-with-actual-punches/

You own a video game company. YOu have a round table for the games 5 years down the road. I say , The Wiz video game, what say you? Holly Wood Tonya is with Necole Collie and Rashad Muhammad Hasan. Ease on down the road. #blackfamilies https://aalbc.com/tc/profile/6477-richardmurray/?status=1671&type=status

Do you comprehend these two ideas in terms of programming or technology? By Oct 15th, consider below. Satellite A bluesky contest Our digital identities are like satellites we launch into cyberspace. You may link one to another here and there, but how would you link all of them, systematically, in a way that proves to others they belong to you? Let’s try an experiment: A contest to demonstrate how to link your accounts and content. $300 in BTC awarded to the top three submissions, to make it worth your time. Choose at least 3 of the following. Link them in a way that anyone can verify you are the author/owner of all. Explain how you did it, and what properties you were designing for. A Twitter account A Reddit account A website... or two A Matrix account A Mastodon account An SSB account A PGP key A piece of content on IPFS A cryptocurrency address Another decentralized social network Another service/platform of your choosing Have an answer in something that already exists? Feel free to use it, but describe how it works, the tradeoffs, and how it can be improved. Implement your solutions as much as possible. If you don’t want to actually link two of your accounts, create a new one for this purpose. Include any documentation or code needed to explain it. We’ll be scoring on a rubric of: thoroughness, robustness, originality, decentralization. Download the rubric and template here. Email solutions to join@blueskyweb.org. Multiple submissions allowed. We’ll keep a leaderboard up with pseudonyms of the authors who submitted the top solutions, so you can check if you’re on it. At the end of the contest, we’ll publish the top solutions and reveal their authors. End date: Oct 15. https://blueskyweb.org/satellite MORE INFORMATION Single Status Update from 10/02/2021 by richardmurray - AALBC.com’s Discussion Forums

BlockChain Protocol https://aalbc.com/tc/profile/6477-richardmurray/?status=1645&type=status

Caleb KRaft is a great maker, this is a video with examples on how to aid gamers with disabilities. The Controller Project This site is a place where you can find documentation on how to modify game controllers for people with physical disabilities. Most of my mods have been used for assistance muscular dystrophy, but the library is an ongoing process and people may find the modifications and accessories helpful for other physical needs. I will be adding other modifications from around the web as I find them. If you need a controller modified, or want to share a modification tutorial or 3d printable files, contact me at Hello(at)calebkraft.com http://thecontrollerproject.com/

How many black female gamers do you know personally? From Mergirl Dunne of Black Games Elite

What's up fam of BGE I was having a conversation early today with two young brothas talking bout video games..... One of these bros mentioned that he did not know one black female gamer. (Till he saw me rocking my RE2 GRAPHIC T-SHIRT) I'm like We are out there but unfortunately we don't get the same recognition as the bro's. My questions to BGE..... How many black female gamers do you know personally....And Why the exclusion From Mergirl Dunne of Black Games Elite BGE mewe page https://mewe.com/group/5f6a6b1e9bfa191d3a68cc0c/profile/5c3e37f67f857d550f1d9eea Mergirl Dunne Mewe page https://mewe.com/i/mergirlwhitedunne

With the industrial explosion of handheld gaming consoles in the year 2021, what does it mean the video gaming industry is missing? One thing all the entries in the assessment below have in common is all the games are already inside and all are circa 100$ to buy the basic version. The cheapest is 60 dollars usa. It was the 9th entry. And they all are trying to emulate games already made, not make new games with the same quality. Anbernic is sighted as the best. Rg351M is their best model in the description below. IT can play the old games, doesn't need to be adjusted when it comes out of the box. To me, it is clear, the handheld market is open to a high powered system with more ingenious games. These games play already developed games in a collage ... like having a bunch of old cars you are able to ride whenever you want. But, what about new games or ideas? I think space exists for new games new user interfaces in the handheld market. Phone games are still too limited or unfocused. A systems power is needed for higher level games. What are your thoughts? Video of the handheld retro gaming market assessment A small history for consoles Thanks again to MErgirl dunne of BlackGamesElite

Didn't know magnavox was bought out in 1974 , they were making versions of their game system until 1978. interesting. Didn't know coleco meant the conneticut leather company:) Photo information in 1977, magnavox/atari/coleco all USA based companies dominated the gaming market. A telling thing that all three corporations are gone. in 1982, Atari was the distanced leader, while three other usa based makers , mattel had joined, aside japan's nintendo were all equal as second. Atari is an interesting story. 1985, all the usa makers plans with their systems all were negative,in comparison to nintendo's vision. this is the key year. all four Atari/Coleco/Magnavox/MAttel needed to come together and make one system or at least rethink their strategy together as they are all based in the usa and are losing significantly to a non statian firm. 1987, when you look at Sega or NEC they came in as Nintendo had an unrivaled competitor. the usa firms for various reasons were mismanaged in their strategy or finance and wasn't competing and thus it opened the market for more japanese firms to get involved. 1992, this has been very helpful to see the industrial change. in 1992 by console sales, Atari was still the third biggest maker in the gaming industry... A firm based in NYC. Born in the west coast but by now, owned by a firm in nyc. 1994, when you look at the video gaming industry today and you realize that Magnavox/Coleco/Mattel/Atari ,all are usa based and all are losing to a group of japanese led firms in Nintendo/Sega/NEC and Sony starting that year, it says alot about industrial management. Why couldn't they come together to try something, something. wow! The owners quit on the idea didn't they? 1996, Nintendo/Sega/Sony all japanese dominate the video gaming market. Atari is still 4th. Hell, Atari join with NEC. I have real problem with the 4th biggest firm in a market , not having any sort of viable plan. 2002, microsoft came in, but I am looking at Atari/Coleco/Mattel/Magnavox/NEC , I don't recall Microfot involving them at all. 4 usa based firms, with properties, video game properties, Microsoft didn't think they warranted getting their properties or working with them or former engineers developers from their time. I even include NEC, why not. you are the last entry, coming real later. Consider that Microsoft was founded in 1975. So they were founded in an era when usa gaming companies was at the top. It took them a long time to want to join the video gaming industry? odd and explains with their lack of interest in aligning with older competitors the fact that they have not made a dollar on consoles. 2006 Sony accepted selling playstation three with a lose of 240 dollars per console, that is over half the price of the system. Very bad business model in my view. And I think sony has never stopped trying to make some high priced system be worth so much even the affordable buyer risks getting it 2019, a great lesson in industrial history here, thanks to MErgirl Dunne of Black Games ELite

I can't recall any video games made from a movie mostly involving black people. A black film I define as a film which is produced or financed, written, directed, and mostly acted by black people. Every other film where black actors are mostly utilized is a non black film that mostly involves black people, ala Black PAnther. With definitions out of the way, will you want to see a Candy man video game? the way most black people love the horror genre, especially in the usa, plus the way most black gamers seem to love the horror video games, I think the candyman video game is... inevitable? thoughts? #blackgameselite

A video, take a look https://photos.app.goo.gl/XzverpLwzdMtXU69A

After VuaKal I find myself, at the end of my time, I have to come back to this project at a time I prescribed later in the year, though I am not publishing it. I am always open to work on this project but it will not be the main focus. Trying to get the audio work took three weeks to merely get it to work in my testing code, and the testing code has serious errors in checking the audio tools for the mass public to use or view. The tragedy is each of these games from a design level took minutes but acquiring the correct code to implement what was designed took longer than I liked, especially with VuaKal , near a month trying to get the correct code and I merely shoe horned a solution in the end. Though I admit I have an answer designed out.