FR2579109A1 - Electronic game of reflection and collective strategy - Google Patents

Abstract

>Electronic game of reflection, based on the simultaneously, but not synchronised, unwinding of the same film in 25 distinct stages (or sequences), in each part (5 in total) of a luminous circular plate. As the film is composed of 5 scenes of identical structure but of different forms, and each scene is consequently composed of the same basic and complementary 5 stages, the aim is to obtain one of these scenes which is seen to unwind successively stage by stage, by isolating the 5 constituent stages in each part of the support, to obtain a unity of place so that synchrony may be established and the scene animated. As each character then occupies one of the 5 stages of which the movement (postures/activities/colours, where appropriate) is composed, the movement propagates in a circular manner like a cartoon. It is necessary, moreover, to avoid the simultaneous occurrence of 2 similar stages if there are no related settings among the 3 others: however, that part of the element which then goes out is re-illuminated as soon as another element reaches its setting.

Description

DESCRIPTION
The present invention relates to a collective strategy board game.

 technical field: toy and electronic games industry.

 Although classic strategy games (chess, checkers), traditional board games are often governed by chance (dice, cards, etc.), both for the initial data and during the game.

In addition, there is only one solution to win: it is fixed in advance, as well as the course itself, which often goes from a "start" box to an "finish" box.

As for electronic games, if they allow the player (s) to direct the game by reflexes, memory and sometimes reflection, they are not strictly speaking strategy games, because they specify their accelerated pace.

The game presented below attempts to combine the advantages of these categories by modifying the ratio chance / determinism on the one hand, and statistne / dynamism on the other hand.

 It is in the form of a cylindrical shoemaker where fragmented and untidy light decorations appear.

 these are 15 in number, grouped according to 3 series of different contexts. You can play with the choice with one or the other of these series of 5 decorations.

The sets in the same series all have the same structure (example: the same movement, in series 1), but different shapes.

They are made up of 5 complementary parts where the
characters who animate the scenes, as follows:
Each of these 5 individuals must perform separately, in his or her respective section, and from sequence to sequence, the movement / total represented by each decoration when it is reconstituted. Once "crossed" a scene, it goes to the next in a fixed order and indicates in the rules of the game, and thus accomplishes the same movement (or more generally course) in the 5 decors successively. Then it returns to the first scene And so on.

as for the succession of stages (or positions), it is logical; whether it is real logic (like the sequences of a movement recomposed into 5 stages-series I- or those of a light ray decomposed into 5 segments of equal colors -series 3) or else of a internal logic of the game (like the succession of parts of sci-fi sets -series2; see below).

Chance only occurs at the start, when the game is started: the configurations that can appear when the computer is in effect are very numerous, taking into account the different factors of combination: each of the 5 individuals can find at any stage of the route, ie occupy any of the 5 positions in any of the 5 decors.

The game consists of reconstructing one of the 5 horns that appear during the game in the form of fragmented and juxtaposed parts.

This then comes alive: when the game is won, the movement "spreads" from one to the other of the 5 individuals, circularly. The scene passes in a way from static and partitioned sequencess, to a continuous film taking place on the 5 parts of the reconstituted decor: we see the characters performing between them 5 synchronously the movement that they have accomplished each of their dimension as a whole and in each set until the players' tricks brought them back to the same set,
They seem to be passing an invisible relay.

The players therefore have 5 solutions to choose from, and in addition an infinity of possible combinations to achieve 4 each move, the player whose turn it is to play transforms the configuration by activating one of the 5 parts, whose character then goes to the next step.

The goal being to gather 5 different postures (or stages) all belonging to the same decor, in order to set in motion a scene, the rule of the game will be the following I1 will have to avoid having simultaneously 2 similar stages among the, unless however that among the 3 other elements, there is one of the same decor as one of the 2 elements in question. In the latter / case, in fact, the similarity of decoration compensates for that of the positions; we are progressing towards the reconstruction of a decor, since we already have 2 elements of the same. In this case, there is therefore no penalty.

given that it is a luminous plateau, this penalization results, when it takes place, in the semi-extinction of the last element appeared in the configuration, the disturbing element.

 It is preferable, if not necessary, to have it turned off only halfway, so that we know in what position and in what decor it stopped. We have the possibility of having it reappear in its entirety and resume its course; it is enough that an element among the 4 others arrives in its decoration, manages to join it in some way, so that it lights up again.

 depending on the nature of the route, in each mouse, it is the characterizing part that stays on.

When it is for example a movement of momentum, a leap forward to cross an obstacle, as in decor I, the part that goes out is that which links the property to the next, while remains turn on the one indicating the position he occupied.

The character represented in this element is thus braked in its momentum, it can neither continue its movement, nor consequently join the others ultimately.

The set serine I includes 5 scenes representing a natural obstacle that can be crossed by a single movement. This one, which constitutes the structure or rather the constant of this series, consists of 5 postures: - squatting, picking up on oneself - leaning forward, taking its momentum - arms and body stretched forward, in extension - rocking, hanging on a branch or other, arms and legs in the back, torso bombe forward - standing, arms raised as a sign of victory
Postures taken in turn by each of the characters in each setting.

The sets themselves, various supports corresponding to this movement are as follows: I) Mountaineering scene
The character - hoists himself on a platform
- takes off to cross a small bankrupt
- leans forward with his whole body to reach an overhang
-grasp it, arms back to cross the edge, and hoist yourself onto a platform
- faces its audience (the players), the high juras
II) countryside scene :: swampy river to cross
The character - frees himself from a jumble of barbed wire while
sliding underneath
- takes its momentum to cross a low wall
- reaches out to reach a tree branch above the river
- swing there to project onto the other shore
- raise your arms in victory
III) Bush scene: fire barrier
The character - slips under the vines surrounding it, half won by fire
- rushes into an old shed of damaged sheet metal
- leaps, arms forward, to reach a bar formerly used to support the frame
- grips it and jumps over the flames
- land on a sand dune, arms raised (then throw sand on the brazier in the nI etc. during the
short final film. This is part of the intermediate movements that only appear at the end).

TV) Scene at the bottom of a hole
The obstacle is here constituted by the whole decor except for a thin border, because it is seen from above.

The character is crouching at the bottom, reflecting
- begins to dig a gallery
- stretching out towards the surface, last effort (all the progression ntapraralt aue when the scene comes alive at the end).

- climbs to the edge of the hole, career arm, performs a somersault back
- land with arms in the air on the surface.

V) Scene in the open sea, after a shipwreck
The character - pushes the ground with his feet to go up to the
area
- takes off
- arms outstretched, beating feet slightly
- hooks from below to a piece of floating wood on the surface
- signals to a ship coming towards it
The set of sceneries II includes 5 sci-fi sceneries.

These are futuristic cities with fairly bright colors.

They are each the product of the activity of the 5 individuals who are precisely building them.

The logical order between the 5 phases of this activity, through which pass all the characters in all the sets, is here motivated by the structure of the sets themselves: each part, already transformed, contains the prefiguration of the following part a the state not yet transformed (for example a dme, a basin etc,)
The goal being to build a coherent decor, necessarily composed of 5 complementary construction parts, the part of the element that almost goes out when there is a penalty is here the decor: the individual finds himself isolated. I1 will be penalized when we accidentally have two characters carrying out the same construction and that among the 3 others, none is in the same decor as one of the 2.

The set of decorations III includes 5 scenes representing wise men (gallery) whose characters are separated by a circular labyrinth with transparent walls. he walls reflect the light so that individuals are illuminated in turn by the colors of the rainbow in each setting. The order of succession here is logical by itself.

de sortir du labyrinthe, c'est- -dire de retrouver un décor cohérent total, qui comporte necessairement toutes les couleurs de l'arc-en-ciel, en proportions égales.East
The goal

get out of the labyrinth, that is to find a total coherent decor, which necessarily includes all the colors of the rainbow, in equal proportions.

This excludes the simultaneity of 2 segments of identical colors. However, if the decoration of one of the 2 "endangered" elements also appears in one of the 3 others, it does not go out.

Otherwise, the wall of the element concerned (the last to arrive) collapses horizontally; the landscape, become opaque (but keeping the same color: point of reference for the rest of the game) is reflected in the abyss, and the character disappears there until one of the 4 others reaches its decor. In which case the character reappears behind the glass, the paving becomes bright again, and the element is again in play.

The short final film announcing that the game is won represents all the panes of the labyrinth which both flicker at the same time ((or, as a variant, converge towards the center of the game, where they almost disappear), while the characters knock down outside in a colorful round.

The colors of the rainbow passing from one to the other are certainly no longer motivated (by any refraction), but no more justly than the speed of execution of the movement or construction in the f: final lm of the first 2 series: 'is in a way the reward of the players, who have trouble to reconstitute a whole, step by step.

This game requires no particular speed from the Players; these are the characters who do it for them, if they have shown skill, concentration and logic. Hence a new dosa
Statism / dynamism (reflection time between each shot: indeterminate / staged, in movement of a setting)
The short films lengthening the victory complete the 5 fixed stages that we know. In particular, the 5th element joins the first, etc. The very rapidity of the whole expresses the euphoria of the Players.

On the other hand, the programming must be such that only configurations containing at least two parts of the same deeor appear at the start of the Game, so that one can Play without automatically switching off an element from the start. Or at least such that there is always a position not present on the 5.

Nartie is lost when you have the same item twice.

(2 characters in the same position in the same decor), or when an element goes out at position number I, because the other elements can only rejoin their decor by going through themselves; or when one fails to relight any of the half-painted elements.

When you have lost the game, - in series I: the last element in the Game, or else the number I, if it is in any case the one that is the cause of the failure, is found isolates (the others go out), seated below the obstacle, overcome in a way.

 - in series II: all the elements light up at the same stage of construction and in the same decor as that which made the team lose, then the sets go out, and they all look at each other, distraught.

 -in series III: all the walls of the labyrinth fall down horizontally, but the characters have disappeared in the abyss reflection of the country on these windows; the colors are dull.

It is possible to provide 4 levels of play:
I) Reconstruct a decor in the disorder (the elements are then put themselves in place for the small film electronically) without steinte elements more than 4 times in all.

ele- Reconstruct a decor in the disorder without turning off any element at all.

III) Reconstitute a decoration in the order by not extinguishing more than 8 to 10 elements in all.

IV) Reconstruct a decor in the order by not extinguishing more than 2 to 4 elements in all.

simultaneous
For the last two levels, the occurrence / of 2 identical elements does not cause the game to be lost, but only causes the (last) extinction / of the last appeared, and this until the other is passed to another stage.

 It requires more or less logic and the ability to anticipate depending on whether you are playing at level I, 2, 3 or 4. On the other hand, the player who played the decisive blow for the victory or failure of the game is declared a winner or a loser. The number of players is undetermined.

Claims (4)

CLAIMS I) Collective strategy game characterized in that it is based on the simultaneous but not synchronized unfolding of a structurally logical sequence of steps, repeating in various forms and according to a fixed order, in each part of a divided support with and effect, and on which must appear a set consisting of a complete structure and a uniform background, all syn chronized. Each part passes separately from one stage to another at the option of the players, and according to some restrictions coming under the rules of the game. 2) Game according to claim above, characterized in that it  contains 15 light sets grouped by 5 in 3 different contexts, at the Players' choice. Cylindrical plastic housing  tick. The decorations of the same series are of the same structure and varied forms, divided into 5 complementary parts, on which appear 5 different characters. The aim of the Game is to reconstruct  one of the backgrounds that appear during the game in the form of par  broken up and juxtaposed. the characters pass successively, each in its respective part, through 5 different stages,  according to a logic external or internal to the game, and this in each setting, the sequence of these being fixed in the game. 3) Electronic game according to any one of the above claims, characterized in that the Players modify the configuration  tion given by the computer at the start by activating one of the 5 parts, the character of which then goes to the next step. As it is necessary to obtain S different stages at the same time in the same decor, if there is simultaneous occurrence of 2 similar stages eans that is  prtri the 3 other parts the decor of at least one of the 2 elements  concerned, part of the element that appeared last goes out.  It only comes back on and comes back into play when an element reaches  in the same decor. If an element goes out in position I, the par  tie is lost. Likewise if 2 elements appear simultaneously a  the same stage and in the same setting, when we play the first ni  second calf.  4, Game according to any one of the above claims, character  laughed at in that when the game is won, the scene goes from  static and stovepipe sequences to a continuous film taking place  on the 'parts of the reconstructed decor: we see the characters  synchronize between them the course they have completed  each of their parts as a whole and in each setting before  end up all in the same.  ,) Game according to any one of the above claims, charac  measured in that chance only plays when you turn on the game,  all the rest coming from the players' tip, their ability to  anticipation and logic, more or less necessary depending on whether they  are trying to get the 15 parts of a decor in order or not  (levels I, 2 or 3.30u4)  5) Game according to any one of the above claims, character  laughed at in that the course and the stages which constitute the struc  of the 3 sets of sets are respectively  - the crossing of 5 natural obstacles, breaks down into 5 postures  successive  - the construction of 5 imaginary cities, broken down into 5 phases  - the reconstruction of the light spectrum, segmented into 5 parts and refracted by the panes of a glass labyrinth, which separates the characters from the 5 successive landscapes. 7) Game according to any one of the above claims, ca racterized in that the 5 obstacles of the series I are: a precipice, a fire barrier, a river, a hole and a submarine bottom (for last two, the character must go back to the face; and that the logic of series 2 is based on the structure of the sets themselves: each part, already transformed, contains the prefiguration of the next part in the state not yet built, 8) A game according to any one of the above claims, characterized in that the parts of the element which go out when there is an error are for each series respectively - the half which connects it to the following - the entire decor, excluding the individual - the individual himself, while the glass wall of his element collapses, in which the landscape is then reflected.