game

two researchers have found how to approximate it within the game

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‘Minecraft’ seems, at first glance, to be the last place we would go to look for a mathematical constant associated with perfect circles. Its world is made of cubes, its landscapes rise block by block and almost everything we see in the game has edges. That is precisely why what Molly Lynch of Hollins University and Michael Weselcouch of Roanoke College have done is so striking: finding a way to approximate π within Minecraft without turning the game into a conventional calculator. What are we trying to calculate?. π It is the constant that appears when comparing the length of a circle with its diameter. It is an irrational number with infinitely many non-repeating decimals. On paper, it seems like an idea inseparable from continuous geometry, of clean circles without edges. ‘Minecraft’ plays in another terrain: everything there is represented by discrete units. That is why the challenge is not only to obtain a number, but to translate a mathematical idea into a gridded world. Too heavy a possibility. ‘Minecraft’ has already proven to be Turing complete, a technical way of saying that, in theory, any program can be implemented within the game if the right mechanisms are built. This opens the door to calculating π as a machine would do, with logical instructions transferred to the universe of blocks. But Lynch and Weselcouch didn’t want to solve the problem by brute force. Translating records, logical operations and steps of an algorithm into ‘Minecraft’ actions would have turned a teaching idea into a huge and inaccessible construction. The choice. Choosing was not a whim, explains Spektrum. Lynch and Weselcouch wanted to bring mathematics closer to young people, and they saw the game as a particularly useful tool to do so. The point was not to demonstrate that Minecraft could replace a computer or to search for a particularly brilliant approximation of π, but rather to take advantage of its internal rules to construct a comprehensible explanation. That’s why his work explored relatively accessible methods for calculating known constants within the game, without turning the experiment into a difficult-to-follow technical demonstration. The darts method. The mathematical key chosen by Lynch and Weselcouch was a technique known as the Monte Carlo method, which the aforementioned publication explains with a very simple image: throwing darts at random against a circular target inscribed in a square. If all the impacts fall within the square, but only some within the circle, the proportion between them allows us to approach π/4. Then it is enough to multiply this result by four to obtain an estimate of π, although we are always talking about a statistical approximation. The translation to the game. Lynch and Weselcouch brought that idea to ‘Minecraft’ by first building a kind of red circle with a radius of 11 blocks, then enclosed within a blue square. From there they needed random events that could be counted, which they found in two creatures in the game: the slimes, which continue moving even if there are no players nearby and change direction at random, and the zoglins, which kill them. To record these eliminations, they used hoppers, funnel-shaped blocks capable of automatically picking up objects that fall on them. The final figure. The researchers recorded 619 dead slimes, of which 508 were eliminated within the circle, and with that data they arrived at π ≈ 3.283. To do this, they compared the deaths recorded within the circular area with the total deaths in the square. It is not a particularly precise approximation, and Lynch and Weselcouch do not hide it: the method would gain precision with a larger structure and with many more recorded deaths. But that limitation does not ruin the proposal. On the contrary, it helps to understand that the goal was to turn an abstract mathematical idea into something visible within Minecraft. Images | minecraft In Xataka | If you had any hope of buying a Steam Deck OLED at a good price, the RAM crisis has something to tell you

The Ferrari Luce is a game of lies. And that says a lot about the problems that all electric supercars have.

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Unless you’ve been lost on a remote island in the middle of the Pacific for the last 36 hours, there’s a good chance you’ve had a little inkling of what’s happened to Ferrari. The brand of Il Cavallino has presented its first electric car, the Ferrari Luce. And no, I didn’t like it. The vehicle designed by Jony Ive and Marc Newson has had an almost unanimous response. Undoubtedly, it has not been saved from criticism on social networks. But he has also received them from figures such as Luca Cordero di Montezemolowho led the company for more than a decade. The former president of the Italians has made statements as harsh as that Ferrari is running the risk of “destroying its myth.” But there are reasons to understand why the new Ferrari Luce is unlike anything we’ve seen from Ferrari before. It is not that we defend its aesthetics, we point out why the company seems to have wanted to completely separate this new electric line from its more sporty image. Everything seems to indicate that They are doing everything possible to find a new audience. Ferrari has preferred to put aside its intention to create a completely electric supercar. At the moment, that market does seem completely deserted in terms of potential clients. The Porsche Taycan is stuck. The Rimac Refrigerator does not sell. Brands like Lamborghini have distanced themselves from the pool when they realized that it most likely lacks water. And the electric supercar is faster than a gasoline one. Its acceleration is unmatched. Well executed, it can have a faster and more spectacular cornering than any thermal rival. But in this life not everything is numbers. And when you sell experiences, that’s a problem. It’s not perfect, it’s better than that There is something disturbing about perfection: the absence of soul. Human beings feel pleasure through the senses and enjoy experiences. He likes the tactile, he delights in sound, he tastes and smells with pleasure. And that is difficult to overcome. Even though the substitute product is more efficient and more effective. Cleaner and odorless. A Tesla Model 3 Performance is faster than most sports cars of the moment. Its 3.1 seconds from 0 to 100 km/h was impossible to match for any mass vehicle, a figure within the reach of the best. Cars worth hundreds of thousands of euros. But saying that it is a better sports car than a naturally aspirated V12 is like equating a paella made with care and love over an orange wood fire with a pill manufactured by a pharmaceutical company in seconds at a ridiculous price. Both can provide the same nutrients but I am clear about which one provides more pleasure. The same thing happens with supercars. With any sports car, in fact. And that is a problem for the electric car. Let alone for a brand like Ferrari. When someone buys a Ferrari, buy an experience. Just like when you buy a Lamborghini, a Porsche or, much simpler, a Mazda MX-5. The car is, in most cases, an object of mobility. The electric car is the best and maximum expression of that. Especially in the city. But a sports car is not only about cornering and acceleration that glues you to your seat. Guillermo García Alfonsín explains well why the electric Mini JCW is fun: because it’s not tuned well on purpose. Imperfection attracts us. A Miata isn’t especially fast, but the driving experience is one of the best. The characteristic sound of an engine, whether it is a V6, V12 or an inline five-cylinder. A precise and manual gearbox. Its metallic sound of an H shift in classic supercars. Cabin vibrations. The smell of gasoline while you refuel. All of these are unmatched experiences for an electric car. All things being equal, they are faster and more effective. But the brands are aware that their customers have enormous reluctance to this clean and odorless experience when Mercedes installs an artificial sound in the new Mercedes-AMG GT, the electric that comes to replace the roar of its V8. In their Ferrari Luce, the Italians have chosen a different path. In its press release, the brand refers to the, undoubtedly, very high performance of a car capable of developing more than 1,000 HP of power. To the innovations used to carry out our own development with more than 60 patents. The truth is that, despite everything, a Tesla Model S Plaid that costs cost Five times less is faster. But in its text, Ferrari has tried to value the experiential nature of the proposal. For example, the explanation of how sound works: The Ferrari Luce’s approach to sound is based on the key principle that it must be authentic and functional, generated from the car’s own mechanics and at the service of the driving experience. A precision accelerometer located in the center of the shaft captures the dynamic texture and vibration of rotating components while sound waves are in motion. Developed in-house and patented, this system filters, equalizes and amplifies the signal similar to how an electric guitar does, but only when functional to the driving experience. The sound will depend on the driving mode chosen but also on the use of the paddles, to simulate an experience similar to what would be changing gears with a combustion engine. Cams for a car without gear change. Lie upon lie to build an identity It must be said that Ferrari is by no means the only company that opts for these trompe-l’oeil games. We have mentioned the case of Mercedes but the speakers to filter the sound inside the cabin and comply with the noise limits outside have been on the market for years. Toyota has patents for simulate gear changes in electric cars without gear changes. Honda does exactly the same with its new Prelude. The engineering behind the automobile has been an art since its birth. An art based on engineering and product development that, … Read more

Who do you love more, bars or Mercadona? Hospitality is taking the battle over prepared food to a zero-sum game

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Since Spain believe made the “menu of the day” official 61 years agoin Manuel Fraga’s time, workers, travelers and families have gone to bars at midday basically looking for two things, in addition to food: time savings and good prices. That sacred triad turned the menu into the great success of the national hospitality industry (with forgiveness for the omelette). Now it plays against him. The same customers who have been eating in restaurants for generations have found an alternative that offers them food at better prices and with greater flexibility: supermarkets. The hoteliers, of course, they are not willing to give up and have taken out their best weapon: regulation. What has happened? The event was intended to review the data and needs of the sector, but it ended up leading to something else: a call to attention to chains such as Mercadona or Alcampo. Yesterday, during the General Assembly of Hospitality of Spain, the president of the group, José Luis Álvarez Almeida, post against a rival that until recently was off the radar of the country’s bars and restaurants: supermarkets. Without expressly mentioning them, the head of the employers’ association complained about the competition exerted by firms such as Mercadona, Carrefour, Bon Preu or Alcampo (to name a few), which have been betting on the sale of prepared dishes for some time and, in some cases, even include dining rooms in their premises so that customers can consume the food and drinks that they previously bought in the store right there. A model, Almeida insistswhich looks too similar to yours. “Unfair competition”. “Now we have gas stations, stores, hypermarkets or supermarkets that want to be bars. That is unfair competition,” argument the president of Hospitality of Spain during an event that was also attended by the Minister of Tourism, Jordi Hereu. “What we tell them is that, from an economic and competitive point of view, they can do what they want; but we all have to play on equal terms and be equal before the law.” your words have resonated with force in the sector, although it is not the first time that the expansion of the ready-to-eat dishes business within the supermarkets themselves leads to this question: Can it be considered unfair competition? He floated the same idea in December during an interview with SER Emilio Gallego, general secretary of Hospitality of Spain. “It is a controversial question. Either you are a supermarket or you have a space for a restaurant,” argument. “If you have a space where you buy food and eat it, you obviously have to have a restaurant activity license.” The key word: merchant. That the hospitality industry has raised its voice just now is no coincidence. Although supermarkets have been selling pre-cooked and ready-to-eat food for decades, in recent years some chains are shifting towards a new business model: the merchants. It is no longer about buying a tray of sushi, a cold tortilla or some pre-cooked noodles from a factory that the supermarket sells packaged. The key is that the customer can choose what they want to eat on a counter full of steaming stews, stews, fish… and then, if they want, they can devour that same food without leaving the store. The menu dilemma. Things get complicated there for bars, especially those that rely most on the concept of ‘menu of the day’: an affordable, varied and time-saving gastronomic offer. For years bars dominated that field. Now they have to fight with heavyweights like Mercadona, which offer prices that are difficult to match by family businesses that have been juggling for some time to make their menus profitable. This change in trend was summed up wonderfully well a few months ago by a gym instructor who The World interviewed while eating in a Mercadona in Madrid: “Although they pay me for the food, this is more practical and faster. You eat for six euros and I don’t spend 45 minutes. I haven’t eaten from a menu since summer.” In that same reportage The journalist spoke with other customers who came to Juan Roig’s store to buy dishes (stews, casseroles…) that they then ate in their own living rooms or office. Two years ago they might have gone to a bar with a menu or cooked at home. Not anymore. Has things changed that much? The data is revealing. In 2025 Mercadona had a turnover of around 700 million euros in Spain through its ‘Ready to Eat’ section. It may not seem like a big deal for a corporation whose sales exceeded 41.8 billionbut it is good to keep several things in mind. First, the ‘Ready to Eat’ section is very young. It was launched in 2018 and has expanded to more than 1,400 points of sale. Second, that those 700 million of euros are just part of the cake. If we take into account the entire supply of pre-cooked products (refrigerated, trays…) and the business in Portugal, the figure rises to 3,000 million. To give us an idea, this figure exceeds the annual sales of McDonald’s in Spain (2 billion) or Burger King (1,500). In general, it is estimated that the Valencian chain accounts for a 19.7% share of value in food and beverage consumption. That is, almost two out of every ten euros What we spend on that branch ends up in the company’s coffers. A key percentage: 7.6%. To understand how quickly the prepared food business is expanding, it is good to review Algori data advanced a few days ago by theEconomist. According to the consultancy, this segment was (by far) the one that recorded the greatest growth in sales volume last year among supermarkets and hypermarkets in Spain. In general, the sale of pre-cooked and cooked dishes soared by 7.6% in volume. Above fruits and vegetables (7%), meats (6.1%) and fish and seafood (4.9%). The Valencian chain is not the only one that is committed to this business niche, although it has managed to lead it. Your … Read more

includes video game and a gift

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MediaMarkt is one of the stores that is offering the most packs for the Nintendo Switch 2. They are not official but assembled by the store itself, which gives them a wide range of options when it comes to adding video games or other accessories. We have already seen many so far and now a new one has arrived: Nintendo Switch 2 along with ‘Super Mario Bros. Wonder’ and a keychain by 479 euros. Nintendo Switch 2 + Super Mario Bros. Wonder + keychain The price could vary. We earn commission from these links New unofficial MediaMarkt pack The nintendo switch 2 It is a particularly interesting console for many reasons. Beyond the physical changes that we have seen with respect to the previous generation, especially in power and sizethere is something especially interesting, especially if we had the first Nintendo Switch. First of all, current generation is backward compatiblewhich means that you will be able to play most of the video games on the market. nintendo switch. In some cases you can do it with improvements by paying for them (approximately 10 euros) and in others you can have the best ones offered by the dock when playing on the television, but playing in portable mode. Obviously, it is not a console that only allows you to play video games from the last generation. Little by little it is adding exclusive titles of his generation to the catalogue. Maybe ‘Mario Kart World‘ and ‘Donkey Kong Bananza‘They are two of the most popular, but we cannot forget the curious one’Pokémon Pokopia‘ either ‘Hyrule Warriors: Age of Banishment‘. ⚡ IN SUMMARY: Nintendo Switch 2 offer today ✅ THE BEST The pack: The store offers you a video game for little more than what the Nintendo Switch costs alone (difference of 30 euros). The price: In general, official and unofficial packs usually sell for approximately 500 euros, something that MediaMarkt has taken into account because theirs usually sells cheaper. ❌ THE WORST Yesno possibility of choosing the video game: The pack is not bad, but the store has offered on other occasions to choose a video game as a gift from several different options. For this same reason, it is not the best pack it has had to date. The battery: The autonomy varies greatly depending on the video game, but it usually lasts approximately three hours. 💡 BUY IT IF… You want to be able to play the Nintendo Switch 2 the moment you receive it home, especially if you want to do it with a good video game from the Super Mario saga. ⛔ DON’T BUY IT IF… You are not convinced by the video game; MediaMarkt tends to renew Nintendo Switch 2 packs quite frequently, so you may be more interested in waiting for them to arrive. You may also be interested tomtoc Shoulder Bag Sling Bag Compatible with Nintendo Switch 2 Console 2025, Protective Bag Portable Travel Gaming Case with 8 Cartridge Slots, Charger and Accessories, Black The price could vary. We earn commission from these links 8BitDo Pro 3 Bluetooth Controller for Switch/Switch 2 – TMR Joysticks, Swappable ABXY Buttons, Pro Back Buttons, Charging Dock, Hall Effect Triggers, for Windows, Apple, SteamOS, Android – Purple The price could vary. We earn commission from these links Some of the links in this article are affiliated and may provide a benefit to Xataka. In case of non-availability, offers may vary. Images | Alejandro Alcolea (edited), Nintendo In Xataka | The second pack of the Nintendo Switch 2 arrives with the new Pokémon: you can now reserve it in these stores In Xataka | The best accessories for your Switch: cases, carrying bags, batteries, and more

Much of the world economy right now consists of setting up data centers. And there is already a game on Steam that simulates it

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Surely what you want most when you come back from work is to turn on your PC or console to play a work game. There is not an ounce of sarcasm in this phrase, since for some time now games that are about that, about working, have become popular. And I don’t mean a ‘stardew valley‘ farm management or a ‘Animal Crossing‘mortgage payment: I mean games that are, directly, a second job. There are cleanof be an IT in a company, as a worker supermarket or of construction worker. Also being in charge of a data centerclear. With all the boom in data centers that have drunk the ram market and SSDs, it is possible that you can’t build a PC new because RAM is through the roofbut you can always fulfill the fantasy of being that person who has the power to set up servers and wire everything in their hands. Is called ‘Data Center‘, and as a game to learn how data centers work and turn off your brain, it is… interesting. The game of having an after-work job setting up data centers Don’t think of this game as a construction game like ‘The Sims‘ and the like. Here you already have the space and what you should do is internal management. You must buy the frames to install the racks, servers and switches, but not crazy, but depending on the needs of the clients who hire your services. Once you have the equipment, it is time to interconnect them with the Ethernet cables that link systems within the same rack, but that must also physically go to other platforms. The easiest thing is to pass those cables through aluminum structures hanging from the ceiling, and once you think you have everything ready, it’s time to turn it on. This is when your customers’ traffic is represented by light balls that travel along the cables. Those little balls have their reason because as things progress, Your clients will ask for more and more bandwidthand you will have to start managing and prioritizing. Equipment also breaks, so you will have to go to the PC to order spare parts or upgrades to have greater computing capacity. The idea is to create the perfect system with the best possible data flow, without bottlenecks and without wasting resources, carefully scaling to offer each client what they need and not oversizing. Those little balls represent data traffic. Each color is a customer It is, in short, a work game that can be repetitive, but that is why it works so well. In this type of titles you do not have to solve puzzles, You don’t have to be skillful with the controls or think too much. They are ideal for turning off the brain while we do a repetitive task and simply focus on what we have to do and what clients ask of us. It sounds like the most boring thing in the world, that second job that I mentioned at the beginning of the article, but they are perfect games to turn off the brain while we have a podcast in the background or something like that. In the comments of this particular ‘Data Center’, players highlight the “teaching” aspect and, despite the limitations of some systems, how realistic it feels. The store from which we must order the components Now, it is not a simulator. In the comments, players who claim to work in data centers point out that, although it is curious and represents some things very well, there are others that do not fit reality and technical options are missing such as VLAN systems or managing something as basic as power cabling. The best thing is that it costs nine euros and, if you don’t click on the first two, you can request a refund on Steam very easily. In the end, it is not a game for everyone. No game is, really.but ‘Data Center’ is one more of that much talked about wave of work games that is appearing recently. Because managing a data center may not be your thing, but for example, restore retro games or manage the latest video store of the city before Amazon eats it. Images | ‘Data Center’ on Steam In Xataka | It seemed like a game of imitating movements. It was actually diagnosing autism better than many clinical tests

How the game invented the “Sanity roll”

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In ‘Dungeons & Dragons’ Nobody closes their eyes to a monster. Seeing it is synonymous with a confrontation (you can always run away, but without losing sight of it, just in case). But in the first test session of ‘The Call of Cthulhu’, in 1981, something unexpected happened: the players began to cover their eyes, hide in corners, run away up stairs. And that inspired him to reflect pure panic in his game. The primal terror. When Sandy Petersen (zoologist by training, enthusiastic role-player, Lovecraft devotee since he was a teenager) was commissioned by Chaosium to develop a game based on the Cthulhu Mythoshorror role-playing games practically did not exist as their own genre. In 1981, the market was dominated by ‘D&D’ variants. There were terrifying monsters, undead, demons, but the mechanical framework was always the same: characters armed to the teeth who stoically absorbed the damage of their enemies. Fear had no representation in the rules. The referent. The Lovecraft stories that inspired the game ‘The Call of Cthulhu’ demanded just the opposite. Its protagonists are not heroes: they are academics, journalists, doctors from the provinces who stumble upon a truth that the cosmos has been hiding for millions of years. The simple revelation of reality does not inject them with legendary courage to face these dangers, but rather destroys them. Translating that into a game system required new tools, new values ​​to measure. How it works. Whenever an investigator is faced with something his or her mind is not prepared to assimilate, the Game Master asks for a Sanity roll. The player rolls a percentile die (usually two 10-sided dice) and compares the result with his Sanity score: if he rolls equal or less, he passes the crash and loses a smaller number of points; If it fails, the loss is more severe. The Sanity score starts from a maximum value equivalent to the character’s Power characteristic multiplied by five and decreases throughout the game with each disturbing encounter. When the loss in a single roll exceeds five points, the character suffers a crisis of temporary insanity: he may become paralyzed or develop erratic behavior that the Game Master dictates on the fly. If Sanity drops to zero, the character is permanently deranged and passes into the hands of the Director. There is a recovery mechanism (rest, therapy, certain successes in research) but the system is calibrated so that the trend is always downward. How it was born. As Petersen explainedthe direct inspiration for the Cordural mechanics was an article in the magazine ‘Sorcerer’s Apprentice’ in which the authors proposed a kind of mental stability statistic. If the character failed a roll, that statistic went down permanently. This idea of ​​a statistic being reduced shocked him. He took the fundamental idea, called it Sanity, made it the lynchpin of the game, and instead of lowering it only on rare occasions, decided that almost every encounter and every event would reduce it, until the investigators could end up becoming mental ruins or even mindless monsters. What happened. In the first game he led after developing the system, as counted in Xwhile narrating how a horrible claw emerged from a portal in the air, something unexpected happened: one player announced that he was covering his eyes, another went to a corner of the room and turned around, and a third fled up the stairs. Petersen was taken aback: in ‘D&D’ no one would ever try to avoid looking at a monster, because seeing it implies information that could be useful. At that moment he understood the true potential of the Sanity rules: they were not just another weapon in favor of monsters, but a mechanic that pushed players to behave in a way that fit this world they were building, a far cry from the fantasy in which ‘D&D’ monsters are almost everyday. Other systems could describe fear, but Sanity made players practice it. Extreme sanity. Petersen’s initial version of Sanity was more extreme than the one that made it to the game: he initially decided that it could only decrease, never increase. It was those responsible for Chaosium who convinced him that this idea was too negative even in a game about Cthulhu. Petersen relented, but later discovered that the ability to regain Sanity makes the system more agonizing, not less, because it tricks players into believing they can save their characters. And we already know that that is very complicated. The mansions of sanity. Since then, Sanity mechanics have influenced all subsequent role-playing horror. The first video game to explicitly pick up that heritage was ‘Eternal Darkness: Sanity’s Requiem’, whose crazy effects mechanic was patented by Nintendo in 2005. Eight years later, ‘Amnesia: The Dark Descent’ brought the mechanics to first-person horror for PC, where darkness and the sight of monsters drain mental stability with progressive visual and sound consequences. Header | Photo of Timothy Dykes in Unsplash / Thomas Quine

George RR Martin never had full creative control over ‘Game of Thrones’. Other authors have learned their lesson

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“This is no longer my story” is probably the worst phrase a writer can say, and it is supposed that came not long ago from the mouth of George R.R. Martinmore or less coinciding with the avalanche of audiovisual adaptations of its ‘Game of Thrones’ universe. There is the eternal question of whether the author himself is the best director or showrunner in the screen adaptation of his work, and it will depend a lot on what “author” and what “work”. What is clear is that the shining stars of the publishing market do not want to make the “Martin mistake”: seeing how your world is transformed by others without control or your own voice. Feeling that the story you saw being born no longer belongs to you must be one of the worst experiences for a creator. And given the continuous boom in news of adaptations that have been working deadline at a frenetic pace, names like Brandon Sanderson or Sarah J. Maas are clear that they are not interested in following the path of the eternal debtor of ‘Winds of Winter’. The Martin case As long as you are interested in content, interviews and news about the adaptations of ‘Game of Thrones’, it is easy to come across statements by George RR Martin about his discontentand even something more painful, assuming distance with its own adaptations. At the beginning of the ‘Game of Thrones’ project, his involvement was greater and his role was much more decisive. Although the showrunners main ones were always Benioff and Weissand creative control fell to them, Martin participated as executive producer, occasional screenwriter and advisor. However, starting in season five his role was diluted, and with it his closeness to the direction of the series. Benioff and Weiss, despite having some clues about the outcome, it is true that they had a difficult task to say the least: finish a story that not even its creator had already finished at that time. It is not surprising that given the path that the controversial closureMartin got off the wagon and acknowledged in numerous interviews that his ending was not going to have anything to do with that of the series. Arrive when you arrive. It came out so-so. With this experience, let’s call it bittersweet, one would expect Martin to be more cautious with future adaptations… But not. In ‘The House of the Dragon’ he appears again as co-creator and executive producer and, once again, at first everything seemed to flow normally in the first season. At least until again different points of view with the showrunner of the series, Ryan Condal, once again create creative tensions. The friction already exists, to the point that HBO asked Martin to take a step back from the project. Months later the author would return to production. “George and Ryan had a disagreement about the direction season three should take. At that point, it became clear that the process and communication with them had broken down and we needed to start from scratch. So, naturally, there was a period where we all took a step back for a while until we could find a new way to move forward.” HBO insider And now we have ‘The Knight of the Seven Kingdoms’again with George RR Martin as producer and with active involvement. Everything seems to be going well with this new adaptation, but the first season has just finished and experience teaches us that problems begin to appear after the second, so we still don’t know what direction it may take. Others will not make concessions Even so, one cannot put all the responsibility on him or treat this fact as an isolated case. Without focusing on other disciplines where rights and authorship are also a minefield, in the publishing world the relationship between authors and adaptation rights is always they have been complicated. Just look what happened to Tolkien’s work; a real legal tangle with rights fragmented for decades, limitations of creative control of Tolkien and heirs, while different companies managed books, merchandising or characters. What ultimately resonates is that even having the rights doesn’t guarantee real creative control either. The impact that certain decisions or a controversial ending can generate directly affect your work, fandomto your reputation and, why not say it, also to your ego. Therefore, the emphasis that a few months ago is not so crazy Taylor Swift having recovered the rights to all his music; We’re not just talking about the albums, but about the visuals, creative direction, music videos… and in literature it’s a bit the same, it’s fighting to have control over everything that your creation entails. It’s normal that Sanderson doesn’t want to get his fingers caught. When an author signs with a studio to adapt their work, a sale of rights occurs to transfer the production of the series or film, temporarily or permanently. Here comes an important point: these rights can be exploitative (including books, possible spin-offs, merchandisingvideo games) or they can be separate rights where the production company or studio does not have full ownership. Now, taking into account the stumbles of other writers with this type of agreement, the essential thing for this new generation, even if the transfer of rights occurs, is to negotiate creative control clauses. This is where Sanderson He led the way a few months ago. After years of trying that did not bear fruit, the author of Cosmere is now taking advantage of his editorial power and his legion of followers to take the reins of the adaptation of his work on Apple TV. He will be the architect of the universe; He will be in charge of writing, producing, advising and will also have decision-making power. That is a level of involvement that not even JK Rowling or Martin enjoy. “I flew to Hollywood and pitched my projects to all the major streaming platforms and studios. Basically, everyone tried to bid on ‘Mistborn’ and ‘The Stormlight’. In the end, … Read more

Mercadona is growing more than ever and still has the capacity to grow more. The game is played in the north

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He who leads always leads, even if he does not always lead the same way. It sounds like a tacky tongue twister, I know; but that phrase sums up well the place that Mercadona occupies in the national distribution sector. We have been repeating for years that the Valencian chain is the one that takes largest portion of the “pie” of the sector, with a business quota 27% at the state level, but that reality is not equally forceful throughout Spain. For example, in Levante its footprint skyrockets to almost 34% while in the northwest it remains at 18.2%, only three points above its most direct competitor in that region, Eroski. What does that mean? That there is a part of Spain in which the company has ample room for growth. And in a way the Duero marks it. The general photo. Whether or not you are satisfied with your commercial offer or corporate strategythere is something that cannot be denied: Mercadona has known how to play its cards well. The company led by Juan Roig has managed to gain a share in its sector that is close to 30%. And that the distribution is not un simple business in Spain, where the super regional and ultra low-cost. NielsenIQ estimates that by the end of 2025 that footprint was 29.5%0.3% more than in 2024. Worldpanel by Numerator lowers it slightly until it is in 27%. In any case, the reading is the same: the Valencian company clearly dominates, comfortably ahead of its most direct competitors, Carrefour and Lidl. It has even made a more than respectable place for itself in the portuguese marketwhere it has carved out a 7% distribution share in just a decade. Paying attention to the map. The above will surprise few. What is striking is that just revealed Expansion based on data from Worldpanel by Numerator: Mercadona may be the sector leader in value share, but that dominance is not equally solid throughout Spain. Its great fiefdom is in what the consultancy calls ‘Levante’, an area made up of the Valencian Community, Murcia and Albacete. There its share reaches 33.6%. Not only is it the highest percentage in the entire Spanish geography and it is seven percentage points above the chain’s national share. It also doubles the mark of its main competitor, Consum, which remains at 16.8%. The ‘photo’ It is completed by Carrefour, with 7.9% of the pie, Lidl (5.2%) and Family Cash (2.9%). Are there more cases? Of course. The other region in which Mercadona has gained the largest share in value is the Canary Islands, with 31.9%, ten points above the next chain on the list, Dinosol (21.1%). In the ‘South’ territory (Andalusia and Badajoz) the firm’s footprint also exceeds 30% (31.5%). The results of Mercadona are equally strong in the ‘Central’ region (Madrid, Cáceres and part of Castilla-La Mancha, Castilla y León and Aragón), where it reaches 27.5%, and ‘Northwest’ (Catalonia and the rest of Aragón), with 26.2%. In all cases the same photograph is repeated, replicated in the areas of Madrid and Barcelona: Mercadona far surpasses its main territorial rival. The northern redoubt. The really interesting thing is, however, in the northern Atlantic and Cantabrian seas. The Worldpanel data by Numerator They show that Mercadona is still a leader there, but in a much less emphatic way. First because its quota is much lower than that held in Levante or the Canary Islands. Second, because it does not maintain much of an advantage over its competitors. The most revealing case is the ‘North-Central’ (Cantabria, Navarra, Palencia, Burgos, La Rioja and the Basque Country), a territory in which Mercadona’s footprint is 19.1%. It is enough to be dominant, but it is only one percentage point behind Eroski (18.1%). In third place is Carrefour (9.8%). It is a scenario similar to what we find in Galicia, Asturias and León, what the consultancy calls ‘Northwest’. Mercadona registers its lowest share in that region, 18.22%. Second place is once again occupied by Eroski (15.1%), followed by Gadisa (10.1%), Carrefour (6.8%) and Alimerka (5.8%). Click on the image to go to the tweet. Why is it important? Beyond the fact that these percentages help us better understand how the company is distributed and how it has managed to dominate the market at a national level, the regional results from Worldpanel by Numerator leave an interesting reading about Mercadona: its future largely passes through the north of the peninsula, where it has greater room for growth. When we decide where to make the purchase, we not only evaluate the prices and variety of the assortment, we also take into account factors such as proximity or more subjective values ​​such as taste or loyalty to a brand. Together they form a ‘barrier’ that determines how far a company’s share can go. At the moment Mercadona has managed to extend its footprint nationwide to 27%. It is not unreasonable to think that even has not hit the ceilingbut the fact that in the northwest area it is only 18.2% and in the Cantabrian Sea it is around 19% suggests that in those territories the margin for growth is much broader and clearer. Not everything is advantages. No, of course. The data published by Expansion They also reveal that the leadership of the Valencian chain is much weaker in the northwest and the area made up of the Basque Country, Navarra, La Rioja and the north of Castilla y León, where it is only one point ahead of its regional rival, Eroski. This makes it easier for them to be overtaken and to see their position threatened. After all, Mercadona has not been established throughout the country for the same amount of time. In Vigo, without going any further, I only had two stores in mid-2013. And that is a city of almost 300,000 inhabitants, the largest in the entire northwest of the peninsula. If it wants to establish itself, Roig’s company will have to erode the share of … Read more

If anyone thinks that gambling is a modern vice, we just found a game of chance that is more than 12,000 years old

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We are so used to locating the origins of gambling in the civilizations of the eastern Mediterranean (in the Babylonian temples, on the Roman gaming tables) that it is difficult to imagine another scenario. But a study published this month in the magazine ‘American Antiquity‘ changes everything: the oldest known dice do not come from the Old World, but from the western plains of North America, and are at least 12,000 years old. They date back to nothing less than the Pleistocene. Old dice. With his study, archaeologist Robert J. Madden has shown that Native Americans made and used dice at least 12,000 years ago, during the last centuries of the Ice Age. That makes them the oldest known games of chance, more than 6,000 years ahead of the earliest documented dice in Europe. What was believed? Mainstream history placed the origin of dice in the complex societies of the Near East and Eastern Europe, approximately 5,500 years ago. Madden’s findings they relocate that starting point to another continent and to another completely different type of society: groups of nomadic hunter-gatherers of the western Great Plains of North America. Neither palaces, nor cities, nor written culture: games of chance in Pleistocene camps. What are these dice like? Prehistoric Native American dice do not look like the cubes we know. They are known as binary lots: flat, two-sided pieces, made of bone or wood, designed to be thrown on a surface. The result depended on how many marked faces were left face up; Players counted points with small rods and whoever reached an agreed upon number first won. More like a coin toss than the six possible outcomes on a die, but just as useful for generating random outcomes. Why was there confusion? The problem was classification. When archaeologists found pieces of this type, they simply labeled them as “game pieces.” There was no systematic criterion to identify them as given. madden corrected that way of seeing it developing a morphological test based on a catalog that the ethnographer Stewart Culin published in 1907, ‘Games of the North American Indians’, where he documented 293 historical sets of indigenous dice from more than 130 towns. With that framework applied to the published archaeological record from across the continent, he identified more than 600 additional dice. Where were they? The oldest dice come from three sites in the Folsom culture: Agate Basin (Wyoming), Lindenmeier (Colorado) and Blackwater Draw (New Mexico). It is believed that these pieces They are between 12,800 and 12,200 years old. Lindenmeier, north of Fort Collins, has 14 different artifacts that meet the criteria, leading some archaeologists to speculate that it was a large seasonal congregation site for dispersed groups. The density of material found there points to something more than a temporary camp. What is most striking is the continuity. These objects appear in deposits from all major periods of North American prehistory, without detectable interruption from the late Pleistocene until after European contact. A 12,000-year-old tradition that still works: Madden himself found tutorials on YouTube where native groups explain how to play versions of the same games from two millennia ago. How to play. Possibly, these dice were used in games that we can connect with what we tell about the patollithe Mesoamerican board game of the Mayans and Aztecs: that was also a game of chance with a deep ritual dimension, found in the archaeological works of the Mayan Train. The social and religious function of the game seems to have been constant in very different pre-Columbian cultures. Madden describes these games as “social technologies of integration”: neutral spaces, governed by shared rules, where groups with little or no prior contact could interact, exchange goods and information, and build alliances. The religious dimension is equally documented. Numerous native oral traditions describe dice as a sacred activity: the gods themselves participate, and in some cosmologies the creation of human beings is the result of a cosmic game. Image | Robert J. Madden

The industry does not stop raising the price of games and I have gotten hooked on this free movie guessing game

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There’s something perversely satisfying about spending weeks thinking more about Al Pacino movies because of one game than any recent AAA release. This movie guessing game has no cutscenes spectacular nor does it come with an ambitious built-in trailer. This is a free website, without invasive advertising, that makes you chain movies with an unknown rival from the other side of the world. Is called ‘Cine2Nerdle‘, and its Battle 2.0 mode is, right now, the hardest thing for me to leave in the browser. How to play. The daily puzzle puts you in front of a grid of 4×4 tiles. Each card contains a word or phrase. The objective is to rearrange them by exchanging positions until each row or column alludes to or describes a movie. There are between four and five movies hidden on each board. When you have three tiles of the same movie lined up, they light up yellow; when you complete all four, the row is resolved. And when you have four horizontally you have to reorganize in search of the fifth. All with limited movements, of course. What makes Cine2Nerdle genuinely interesting in its single-player mode is its constant cheating. A card can belong to a row because it is the place where a movie takes place, and simultaneously to a column because it is the last name of the leading actor in another. This game of polysemy also affects false paths; A proper name can have multiple owners, an initial can be a title or the name of a character. Each puzzle is more like a crossword puzzle than a logic test. Its secret: Battle Mode. The daily puzzle is already good enough, but what makes ‘Cine2Nerdle’ a diabolical invention is the Battle mode, and more specifically its second version. The basic idea is a 1vs1 duel in real time: both players start from an initial film and have 25 seconds, taking turns to chain together others that share at least one member of the artistic team: actor, director, screenwriter, director of photography. And so on until someone is left without an answer or runs out of time. What Battle 2.0 added over the previous version is a layer of strategy that transforms the game. Before, games could last about an hour if both players knew cinema well. Now each player carries a “battle kit” that includes items as a condition for immediate victory (for example, mentioning four science fiction films from the eighties or connecting films with an actor without using him as a direct connector), life savers (small helps, such as revealing facts about the films) and the possibility of banning films or actors to the rival. Thus the games are resolved in about five minutes. The good thing: before each game you prepare the kit of aids and objectives that you have gained while playing, and thus you can make up for your film-loving shortcomings. Pure RPG mechanics. The strategy. You have to use the aspects in which you are strong and have knowledge to drag the rival there. For example: are you an expert in horror films from the eighties? Mention long career directors who take the game from the present, where everyone knows titles, to decades past (e.g. John Carpenter). Take the game to your territory, and there, begin to uncover increasingly rare films, and reinforce your choices with prohibitions on using the best-known actors in the cast. The remains of ‘Wordle’. When the New York Times bought ‘Wordle’ for more than a million dollars By early 2022, the game already had millions of daily users. The formula was simple: one word per day, shareable on networks, without unnecessary additives. What followed was an avalanche of thematic derivatives: geography (Worldle), music (Heardle), mathematics (Nerdle)… Most did not survive a year. Cine2Nerdle He is one of the survivors. It was created by Nilanth Yogadasan, who had already published CineNerdle (a puzzle of film frames that were revealed little by little). The jump to “2” completely changed the mechanics and also, as its creator recognizesis a nod to the style of titles like ‘2 Fast 2 Furious’: the sequel that puts the number in the middle. The kind of winks for coffee lovers that turn a game for film nerds into an accessible and fun experience. In Xataka | The Spanish Puzzle Championship exists, real professionals participate and there are prizes of up to 1,000 euros

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