ATG Game Manual

Total Page:16

File Type:pdf, Size:1020Kb

ATG Game Manual EPILEPSY WARNING PLEASE READ THIS NOTICE BEFORE PLAYING THIS GAME OR BEFORE ALLOWING YOUR CHILDREN TO PLAY. Certain individuals may experience epileptic seizures or loss of consciousness when subjected to strong, flashing lights for long periods of time. Such individuals may therefore experience a seizure while operating computer or video games. This can also affect individuals who have no prior medical record of epilepsy or have never previously experienced a seizure. If you or any family member has ever experienced epilepsy symptoms (seizures or loss of consciousness) after exposure to flashing lights, please consult your doctor before playing this game. Parental guidance is always suggested when children are using a computer and video games. Should you or your child experience dizziness, poor eyesight, eye or muscle twitching, loss of consciousness, feelings of disorientation or any type of involuntary movements or cramps while playing this game, turn it off immediately and consult your doctor before playing again. PRECAUTIONS DURING USE: • Do not sit too close to the monitor. Sit as far as comfortably possible. • Use as small a monitor as possible. • Do not play when tired or short on sleep. • Take care that there is sufficient lighting in the room. • Be sure to take a break of 10-15 minutes every hour. © 2010 Matrix Games Ltd. All Rights Reserved. Matrix Games Ltd. and the Matrix Games Ltd. logo are trademarks of Matrix Games Ltd . All other trademarks and trade names are the properties of their respective owners and Matrix Games Ltd. make no claim thereto. USE OF THIS PRODUCT IS SUBJECT TO THE ACCEPTANCE OF THE LICENSE AGREEMENT AND LIMITED WARRANTY FROM WARSAW TO PARIS… AND THEN ON TO LONDON! The development team behind the award-winning game Advanced Tactics: World War II is back with a new and improved game engine that focuses on the decisive early days of World War II! Decisive Campaigns: The Blitzkrieg from Warsaw to Paris is the first in an innovative series of operational World War II wargames that also include a strategic element. The Blitzkrieg from Warsaw to Paris simulates Germany’s military successes in Poland and France in 1939 and 1940 (including also a hypothetical “Sea Lion” invasion of Great Britain if you do well enough). Well researched and packed with depth, including detailed unit data down to the squad and vehicle level and historically realistic combined arms gameplay, The Blitzkrieg from Warsaw to Paris also features an easy-to-learn interface and a ferocious AI. Before each campaign, players choose actions and options at a strategic level which can have far-reaching effects on how the actual battle unfolds, with many plausible hypothetical outcomes. Once in the battle, players move regiments and divisions, coordinate attacks and manage logistics in what we feel is the definitive game on the campaigns of the early Blitzkrieg. There are also unique actions for individual historical generals to give a particular objective or front the extra needed push to victory. Decisive Campaigns: The Blitzkrieg from Warsaw to Paris also includes a unique multiplayer feature where players can split up Axis or Allied armies between several people to add an added level of realism and cooperation! CONTENTS 1. ADVANCED TACTICS: GOLD EDITION™ ........................................................... 10 1.1. Minimum System Requirements ....................................................................... 10 1.2. Installation Procedures ...................................................................................... 10 1.3. Uninstalling the Game ........................................................................................ 10 1.4. Product Updates ................................................................................................ 10 1.5. Game Forums .................................................................................................... 11 1.6. Need help? ........................................................................................................ 11 1.7. Technical Support .............................................................................................. 11 1.8. Advanced Tactics: Gold Edition New Features ..................................................... 11 1.9. Introduction ....................................................................................................... 14 1.10. Word of thanks .................................................................................................. 14 1.11. Starting Play ...................................................................................................... 15 1.12. General Tactical and Strategic Advice ................................................................. 15 1.13. Manual setup .................................................................................................... 17 2. INTERFACE ....................................................................................................... 17 2.1. Main Menu Screen ............................................................................................. 17 2.1.1. New Random Game ..................................................................................... 18 2.1.2. Classic Random Game ................................................................................. 18 2.1.3. Load Scenario ............................................................................................. 18 2.1.4. Load Saved Game ........................................................................................ 18 2.1.5. Install Zip File .............................................................................................. 18 2.1.6. Editor .......................................................................................................... 19 2.2. New Random Game Screen ............................................................................... 19 2.2.1. World Size ................................................................................................... 19 2.2.2. Players ........................................................................................................ 19 2.2.3. World Type .................................................................................................. 19 2.2.4. Mirrorish ..................................................................................................... 20 2.2.5. Shroud ........................................................................................................ 20 2.2.6. One Town Start ............................................................................................ 20 2.2.7. Stone Age ................................................................................................... 20 2.2.8. Crates and Hidden AI.................................................................................... 20 2.2.9. Hidden Stats ................................................................................................ 20 2.2.10. AI Allied ....................................................................................................... 20 2.2.11. No Roads .................................................................................................... 20 2.2.12. Wild Land .................................................................................................... 21 2.2.13. Deserted Land ............................................................................................. 21 2.2.14. Depleted Land ............................................................................................. 21 2.2.15. Costly Research .......................................................................................... 21 2.2.16. No Climate .................................................................................................. 21 2.2.17. Full Range ................................................................................................... 21 2.2.18. Arctic-Temperate ......................................................................................... 21 2.2.19. SubTropic-Tropic ......................................................................................... 21 2.3. Scenario Setup Screen ...................................................................................... 22 5 2.3.1. Fog of War ................................................................................................... 22 2.3.2. PBEM Protection .......................................................................................... 22 2.3.3. Passwords ................................................................................................... 23 2.3.4. Hide real-time AI .......................................................................................... 23 2.3.5. Shroud ........................................................................................................ 23 2.3.6. Shroud Peek ................................................................................................ 23 2.3.7. Opponents ................................................................................................... 23 2.3.8. Mini-map .................................................................................................... 23 2.3.9. Edit ............................................................................................................. 24 2.3.10. Start............................................................................................................ 24 2.3.11. Scenario
Recommended publications
  • Cutting Patterns in DW Griffith's Biographs
    Cutting patterns in D.W. Griffith’s Biographs: An experimental statistical study Mike Baxter, 16 Lady Bay Road, West Bridgford, Nottingham, NG2 5BJ, U.K. (e-mail: [email protected]) 1 Introduction A number of recent studies have examined statistical methods for investigating cutting patterns within films, for the purposes of comparing patterns across films and/or for summarising ‘average’ patterns in a body of films. The present paper investigates how different ideas that have been proposed might be combined to identify subsets of similarly constructed films (i.e. exhibiting comparable cutting structures) within a larger body. The ideas explored are illustrated using a sample of 62 D.W Griffith Biograph one-reelers from the years 1909–1913. Yuri Tsivian has suggested that ‘all films are different as far as their SL struc- tures; yet some are less different than others’. Barry Salt, with specific reference to the question of whether or not Griffith’s Biographs ‘have the same large scale variations in their shot lengths along the length of the film’ says the ‘answer to this is quite clearly, no’. This judgment is based on smooths of the data using seventh degree trendlines and the observation that these ‘are nearly all quite different one from another, and too varied to allow any grouping that could be matched against, say, genre’1. While the basis for Salt’s view is clear Tsivian’s apparently oppos- ing position that some films are ‘less different than others’ seems to me to be a reasonably incontestable sentiment. It depends on how much you are prepared to simplify structure by smoothing in order to effect comparisons.
    [Show full text]
  • E/2021/NGO/XX Economic and Social Council
    United Nations E/2021/NGO/XX Economic and Social Distr.: General July 2021 Council Original: English and French 2021 session 13 July 2021 – 16 July 2021 Agenda item 5 ECOSOC High-level Segment Statement submitted by organizations in consultative status with the Economic and Social Council * The Secretary-General has received the following statements, which are being circulated in accordance with paragraphs 30 and 31 of Economic and Social Council resolution 1996/31. Table of Contents1 1. Abshar Atefeha Charity Institute, Chant du Guépard dans le Désert, Charitable Institute for Protecting Social Victims, The, Disability Association of Tavana, Ertegha Keyfiat Zendegi Iranian Charitable Institute, Iranian Thalassemia Society, Family Health Association of Iran, Iran Autism Association, Jameh Ehyagaran Teb Sonnati Va Salamat Iranian, Maryam Ghasemi Educational Charity Institute, Network of Women's Non-governmental Organizations in the Islamic Republic of Iran, Organization for Defending Victims of Violence,Peivande Gole Narges Organization, Rahbord Peimayesh Research & Educational Services Cooperative, Society for Protection of Street & Working Children, Society of Iranian Women Advocating Sustainable Development of Environment, The Association of Citizens Civil Rights Protection "Manshour-e Parseh" 2. ACT Alliance-Action by Churches Together, Anglican Consultative Council, Commission of the Churches on International Affairs of the World Council of Churches, Lutheran World Federation, Presbyterian Church (USA), United Methodist Church - General Board of Church and Society 3. Adolescent Health and Information Projects, European Health Psychology Society, Institute for Multicultural Counseling and Education Services, Inc., International Committee For Peace And Reconciliation, International Council of Psychologists, International Federation of Business * The present statements are issued without formal editing.
    [Show full text]
  • Cinefiles Document #5962
    Document Citation Title D.W. Griffith touring show Author(s) Tom Gunning Ron Mottram Source Museum of Modern Art (New York, N.Y.) Date 1975 Type program note Language English Pagination No. of Pages 40 Subjects Griffith, D. W. (1875-1948), LaGrange, Kentucky, United States Film Subjects The fugitive, Griffith, D. W., 1910 The white rose, Griffith, D. W., 1923 Intolerance, Griffith, D. W., 1916 Broken blossoms, Griffith, D. W., 1919 Orphans of the storm, Griffith, D. W., 1921 America, Griffith, D. W., 1924 A corner in wheat, Griffith, D. W., 1909 Hearts of the world, Griffith, D. W., 1918 The avenging conscience, Griffith, D. W., 1914 Isn't life wonderful, Griffith, D. W., 1924 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) The birth of a nation, Griffith, D. W., 1915 The girl and her trust, Griffith, D. W., 1912 The girl who stayed at home, Griffith, D. W., 1919 Way down east, Griffith, D. W., 1920 What shall we do with our old?, Griffith, D. W., 1911 Those awful hats, Griffith, D. W., 1909 Enoch Arden, Griffith, D. W., 1911 The honor of his family, Griffith, D. W., 1910 The painted lady, Griffith, D. W., 1912 The lady and the mouse, Griffith, D. W., 1912 The musketeers of Pig Alley, Griffith, D. W., 1912 The unchanging sea, Griffith, D. W., 1910 True heart Susie, Griffith, D. W., 1919 The battle at Elderbush Gulch, Griffith, D. W., 1914 An unseen enemy, Griffith, D. W., 1912 The struggle, Griffith, D. W., 1931 The mothering heart, Griffith, D.
    [Show full text]
  • Theology in Silent Films, 1902 to 1927
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Skin and Redemption: Theology in Silent Films, 1902 to 1927 Susan Craig Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1794 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Skin and Redemption: Theology in Silent Films, 1902 to 1927 by Susan Craig A dissertation submitted to the Graduate Faculty in History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 Susan Jean Craig All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Prof. Martin J. Burke Date Chair of Examining Committee Prof. Helena Rosenblatt Date Executive Officer Prof. Donald Scott Prof. Jonathan Sassi Prof. Marc Dolan THE CITY UNIVERSITY OF NEW YORK Prof. Richard Koszarski RUTGERS UNIVERSITY Supervisory Committee iv Abstract Theology in Silent Films by Susan Craig Adviser: Prof. Martin J. Burke This dissertation analyzes theological concepts in silent moving pictures made for commercial distribution from 1902 to 1927, and examines how directors and scenarists sorted through competing belief systems to select what they anticipated would be palatable theological references for their films. A fundamental assumption of this study is that, the artistic and aesthetic pretensions of many silent-era filmmakers notwithstanding, directors generally made decisions in the conception, production and marketing of films primarily to maximize profits in a ruthlessly competitive environment.
    [Show full text]
  • 7Th GRADE SUMMER READING!
    7th GRADE SUMMER READING! June 2020 Dear Incoming 7th Graders, We hope that you have an enjoyable and relaxing summer! At the same time, we don’t want to see you forget all of the skills you have worked so hard on during 6th grade. To keep your skills sharp, we ask you to read two novels ​ ​ this summer to kick off the 7th Grade 20 Book Reading Challenge that we will continue throughout the year. ​ ​ We are encouraging each student to read 20 books throughout this year. Attached is a sheet to record the title and authors of each book that is read. Print out the challenge page and add the two titles and authors of the books you read over the summer. Then bring the challenge page to class with you to turn into your ELA teacher. We encourage students to read across a variety of genres, themes, and authors. The books we read as a class will count toward the 20 books. It is our motto that you can always read more than 20 and should never strive to do less. The book of your choice CANNOT be a book with a film version. Throughout the course of the year we will be exploring the theme of transformation on top of our exploration of story structure and how authors transform traditional structures. This theme will be a reoccurring topic in both our class discussions and writing for each unit we study. We encourage students to utilize the school and public libraries as a means of finding great books to read.
    [Show full text]
  • Bibliofiles Spring 2013
    Bowling Green State University ScholarWorks@BGSU Bibliofiles Library Newsletters Spring 2013 Bibliofiles Spring 2013 Follow this and additional works at: https://scholarworks.bgsu.edu/library_newsletters Recommended Citation "Bibliofiles Spring 2013" (2013). Bibliofiles. 5. https://scholarworks.bgsu.edu/library_newsletters/5 This Book is brought to you for free and open access by the Library Newsletters at ScholarWorks@BGSU. It has been accepted for inclusion in Bibliofiles by an authorized administrator of ScholarWorks@BGSU. SPRING 2013 2012-13 2012-13 First-Class Mail University Libraries Friends of the Presorted Advocates Board University U.S. Postage PAID Bowling Green State University Colleen Boff Libraries Board Bowling Green THE FRIENDS OF THE William T. Jerome Library Sara Bushong Sara Bushong State University Sharon Hanna Matt Donahue Bowling Green, Ohio 43403-0179 Flora Hockenberg Stacey Dudley UNIVERSITY Richard Hockenberg Fleming Fallon Gary Hoppenstand Robert Graham Jonathan D. Iten Elizabeth Hertenstein Bibliofiles LIBRARIES Kari Johnson Beth Hoag Robert W. Maurer Beth Hofer UNIVERSITY LIBRARIES David Miller Kari Johnson Janet Parks Daniel Klein BOWLING GREEN STATE UNIVERSITY Clayton Stewart Juli McCarroll Marty Stiffler Mark Nelson Paul W. Stiffler Gaynelle Predmore Katerina Ruedi Ray Library Staff News B. Lee Cooper and Frank W. Hoffmann, with Civil War,” (June 2012), SHARP Conference. Marilyn Shrude research assistance from Debbie Edens, Trinity College. Dublin, Ireland. Michael Turner was appointed Library Matthew J. Masters and William L. Schurk Linda Kramer and Kathy Yoder Lifelong Associate 1 at the Northwest Ohio Cooper, B.L.; Hoffmann, F.W., Edens, Regional Book Depository (NWORBD) presented “The Best Books of 2011-12 D.; Masters, M.J., & Schurk, W.L.
    [Show full text]
  • The Influence of Anti-Communist and Anti-Slavic Governmental Propaganda in Hollywood Cinema in the Decade Following WWII
    The AlexAndriAn IV, no. 1 (2015) Don’t Believe Everything You See at the Movies: The Influence of Anti-Communist and Anti-Slavic Governmental Propaganda in Hollywood Cinema in the Decade Following WWII Megan Phillips "Don't Believe Everything You See at the Movies" is an evaluation of the American film industry in the decade following WWII. It analyzes government involvement in the private film sector and how the film industry responded to pressure to produce films with pro-American stance as well as themes of anti-Soviet and anti-communist sentiment. The essay argues that these films were the direct result of government involvement in the lives/careers of the actors, actresses, writers, producers, and directors of the time, and how their reaction came to shape American film culture throughout the decade. Movies, like the theatre productions that preceded them, are largely based on the suspension of disbelief in their viewers. This means that in order to enjoy a movie, one must immerse oneself in the world presented on screen and, for that moment, accept this reality rather than their own. This tactic of self-imposed selected ignorance for the purpose of entertainment has acted to hold moviegoers captive for nearly a century. A movie’s reality can include a variety of different perspectives based on the motivations and perspectives of the actors, producers, directors, and writers. Film always has a purpose. The American government actively intervened in the film industry in the 1940s and ‘50s in order to denounce communism and promote “American values”. The intent of this paper is to illustrate to the reader that this deliberate intervention had a direct influence on the way that Hollywood would present their movies to the American people over the next decade, using positive reinforcement or negative censorship of their Constitutional rights to expression.
    [Show full text]
  • Lillian Gish
    Lillian Gish Lived: October 14, 1893 - February 27, 1993 Worked as: director, film actress, screenwriter Worked In: United States by Mark Garrett Cooper In 1920, Lillian Gish both delivered a landmark performance in D.W. Griffith’s Way Down East and directed her sister Dorothy in Remodelling Her Husband. This was her sole director credit in a career as a screen actor that began with An Unseen Enemy in 1912 and ended with The Whales of August in 1987. Personal correspondence examined by biographer Charles Affron shows that Gish lobbied Griffith for the opportunity to direct and approached the task with enthusiasm. In 1920, in Motion Picture Magazine, however, Gish offered the following assessment of her experience: “There are people born to rule and there are people born to be subservient. I am of the latter order. I just love to be subservient, to be told what to do” (102). One might imagine that she discovered a merely personal kink. In a Photoplay interview that same year, however, she extended her opinion to encompass all women and in doing so slighted Lois Weber, one of Hollywood’s most productive directors. “I am not strong enough” to direct, Gish told Photoplay, “I doubt if any woman is. I understand now why Lois Weber was always ill after a picture” (29). What should historical criticism do with such evidence? By far the most common approach has been to argue that Gish did not really mean what the press quotes her as saying. Alley Acker, for instance, urges us not to be fooled by Gish’s “Victorian modesty” and goes on to provide evidence of her authority on the set (62).
    [Show full text]
  • Lillian Diana Gish
    Adrian Paul Botta ([email protected]) Lillian Diana Gish Lillian Diana Gish[1] (October 14, 1893 – February 27, 1993) was an American actress of the screen and stage,[2] as well as a director and writer whose film acting career spanned 75 years, from 1912 in silent film shorts to 1987. Gish was called the First Lady of American Cinema, and she is credited with pio - neering fundamental film performing techniques. Gish was a prominent film star of the 1910s and 1920s, partic - ularly associated with the films of director D. W. Griffith, includ - ing her leading role in the highest-grossing film of the silent era, Griffith's seminal The Birth of a Nation (1915). At the dawn of the sound era, she returned to the stage and appeared in film infrequently, including well-known roles in the controversial western Duel in the Sun (1946) and the offbeat thriller The Night of the Hunter (1955). She also did considerable television work from the early 1950s into the 1980s and closed her career playing, for the first time, oppo - site Bette Davis in the 1987 film The Whales of August (which would prove to be one of Davis's last on-screen appearances). In her later years Adrian Paul Botta ([email protected]) In her later years Gish became a dedicated advocate for the appreciation and preservation of silent film. Gish is widely consid - ered to be the great - est actress of the silent era, and one of the greatest ac - tresses in cinema history. Despite being better known for her film work, Gish was also an accom - plished stage ac - tress, and she was inducted into the American Theatre Hall of Fame in 1972.
    [Show full text]
  • Outline of a Carrier Deck Painted on an Airfield
    FROM HUBRIS TO HORROR: THE AMERICAN WARS OF THE TWENTIETH CENTURY AND HOW THEIR DEPICTION IN FILM EITHER REFLECTED OR INFLUENCED PUBLIC OPINION ____________ A Thesis Presented to the Faculty of California State University, Dominguez Hills ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Humanities ____________ by Michael Drake Fall 2019 THESIS: FROM HUBRIS TO HORROR: THE AMERICAN WARS OF THE TWENTIETH CENTURY AND HOW THEIR DEPICTION IN FILM EITHER REFLECTED OR INFLUENCED PUBLIC OPINION AUTHOR: MICHAEL DRAKE APPROVED: _______________________________________ Matthew Luckett, Ph.D Thesis Committee Chair _______________________________________ Tim Caron, Ph.D Committee Member _______________________________________ Jacqueline Shannon, DMA Committee Member Dedicated to the men and women of the American Armed Forces who proudly served and to those who made the ultimate sacrifice in World Wars I and II and Vietnam. PREFACE The study of the evolution of warfare, and especially the great wars of the twentieth century, along with their depiction in film, combined several passions for me personally. I have been a student of military history since childhood and have a vast collection of books on the subject. I am also a veteran with twenty-five years of military service and a deployment overseas during one of the last century’s conflicts. As long as I can remember I have also been a fan of movies and fondly remember the days when twenty-five cents got you a ticket to the Wildey Theatre in the small southern Illinois town where I grew up. I remember well when my father, a veteran of World War II, took me to see The Longest Day, and the impact it had on me.
    [Show full text]
  • Robert Graves at Troy, Marathon, and the End of Sandy Road
    12 Robert Graves at Troy, Marathon, and the End of Sandy Road War Poems at a ClassicalDistance? Tom Palaima In 1941 Robert Graves was aslced, 'as a ''poet of the last wa1·''', to comment on the poetry tha ·t was being written during World War II.1 Graves rightly pointed ot1t that the terms 'war poet' and 'war poetry' were 'first used in World War I and perhaps peculiar to it'; l1e then spent almost his entire essay explaining how war poems came to be 'published by the thousa11d' during World W a1·I and why, when he was publishing his own Collected Poems in 1938, he 'could not conscientiously reprint any of my ''war poems''-they were too obvi­ ously written in the war-poetry boom' .2 This choice by Graves has made his war poetry less well lmown . The editor of a recent anthology of the 'essential' poetry of World War I with contextualizing com­ mentary considers it a significant acl1ievement 'to include some of the war poetry of Robert Graves which he suppressed fo1· over half a century' .3 Graves may have been truthful in 1941, but it is only a partial truth. His 'suppression' of his war poetry a11dhis limited original publica­ ·tion of it4 also reflect an ambivalence on his part about how well his war poems convey his own experiences of war and his attitudes 1 1 Graves (1995) 79-83, originally appearing as 'War Poets in This War , Listener, 26 (23 Oct. 1941), 566-7. 2 Graves (1995), 79. 3 Roberts (1996), 11.
    [Show full text]
  • 80 1. DW Griffith (American, 1875–1948). an Unseen Enemy. 1912. 35Mm Film
    1. D. W. Griffith (American, 1875–1948). An Unseen Enemy. 1912. 35mm film (black and white, silent), 14 min. (incomplete). The Museum of Modern Art, New York. The Biograph Collection; preserved by The Museum of Modern Art with support from The Lillian Gish Trust for Film Preservation 80 Dorothy Gish and Lillian Gish LILLIAN GISH (American, 1893–1993) / JENNY HE “A movie star since movies began,” actress Her characters—put-upon women facing ushered the sisters into a casting session Lillian Diana de Guiche was born the same tribulations from the injustices of the French for An Unseen Enemy, a one-reeler about year that Thomas Edison introduced the Revolution (Orphans), the persecution of two sisters fending off a larcenous maid motion picture to the American public.1 This Puritanical society (The Scarlet Letter), and and her safe-robbing accomplice. Impressed coincidence, however random, proved fateful the ravages of nature in the American West with their ability to respond to direction, for Gish, a defining artist of early film history. (The Wind)—endured in the face of betrayal, Griffith recast the film with the Gishes, even Known as the First Lady of the Silent Screen, rape, death, and abandonment. Often char- though he had already begun rehearsals with Gish made her most significant cinematic acterized as a waif, Gish was a dichotomy of other actresses, and began shooting Lillian’s contributions during the silent film era, but fragility and resilience. This was true of her first screen appearance the next day. the prolific actress enjoyed a career that life offscreen as well as onscreen.
    [Show full text]