Abalone is a two-player abstract strategy board game designed by Michel Lalet and Laurent Lévi in 1987. Players are represented by opposing black and...
Abalone is a two-player abstract strategy board game designed by Michel Lalet and Laurent Lévi in 1987. Players are represented by opposing black and white marbles on a hexagonal board with the objective of pushing six of the opponent's marbles off the edge of the board.
Abalone was published in 1990 and has sold more than 4.5 million units. The year it was published it received one of the first Mensa Select awards. It is currently sold in more than thirty countries.
The board consists of 61 circular spaces arranged in a hexagon, five on a side. Each player has 14 marbles that rest in the spaces and are initially arranged as shown below, on the left image. The players take turns with the black marbles moving first. For each move, a player moves a straight line of one, two or three marbles of one color one space in one of six directions. The move can be either broadside / arrow-like (parallel to the line of marbles) or in-line / in a line (serial in respect to the line of marbles), as illustrated below.
A player can push their opponent's marbles (a "sumito") that are in a line to their own with an in-line move only. They can only push if the pushing line has more marbles than the pushed line (three can push one or two; two can push one). Marbles must be pushed to an empty space (i.e. not blocked by a marble) or off the board. The winner is the first player to push six of the opponent's marbles off of the edge of the board.
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RITHMOMACHY
Rithmomachy (or Rithmomachia, also Arithmomachia, Rythmomachy, Rhythmomachy, or several other variants; sometimes known as The Philosophers' Game) is...
Rithmomachy (or Rithmomachia, also Arithmomachia, Rythmomachy, Rhythmomachy, or several other variants; sometimes known as The Philosophers' Game) is a highly complex, early European mathematical board game. The earliest known description of it dates from the eleventh century. A literal translation of the name is "The Battle of the Numbers". The game is much like chess, except most methods of capture depend on the numbers inscribed on each piece.
It has been argued that between the twelfth and sixteenth centuries, "rithmomachia served as a practical exemplar for teaching the contemplative values of Boethian mathematical philosophy, which emphasized the natural harmony and perfection of number and proportion. The game, Moyer argues, was used both as a mnemonic drill for the study of Boethian number theory and, more importantly, as a vehicle for moral education, by reminding players of the mathematical harmony of creation."
Very little, if anything, is known about the origin of the game. Medieval writers attributed it to Pythagoras, but no trace of it has been discovered in Greek literature, and the earliest mention of it is from the time of Hermannus Contractus (1013–1054).
The name, which appears in a variety of forms, points to a Greek origin, the more so because Greek was little known at the time when the game first appeared in literature. Based upon the Greek theory of numbers, and having a Greek name, it is still speculated by some that the game originated in Greek civilization, perhaps in the later schools of Byzantium or Alexandria.
The first written evidence of Rithmomachia dates to around 1030, when a monk named Asilo created a game that illustrated the number theory of Boëthius' De institutione arithmetica, for the students of monastery schools. The rules of the game were improved shortly thereafter by another monk, Hermannus Contractus from Reichenau, and in the school of Liège. In the following centuries, Rithmomachia spread quickly through schools and monasteries in the southern parts of Germany and France. It was used mainly as a teaching aid, but gradually intellectuals started to play it for pleasure. In the 13th century Rithmomachia came to England, where famous mathematician Thomas Bradwardine wrote a text about it. Even Roger Bacon recommended Rithmomachia to his students, while Sir Thomas More let the inhabitants of the fictitious Utopia play it for recreation.
The game was well enough known as to justify printed treatises in Latin, French, Italian, and German, in the sixteenth century, and to have public advertisements of the sale of the board and pieces under the shadow of the old Sorbonne.
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