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cn palaba Sunderfolk , a four-player co-op turn-based RPG, is looking like the next game to encourage folks to experience the joy of tabletop games. It sees players fight together through a story where every NPC and player choice is narrated by a game master, allowing a group of friends to party up for weekly game nights to play through a campaign together. Sunderfolk doesn't offer the same level of narrative freedom as a game like Baldur's Gate 3 (or playing an actual tabletop game with a real person as the game master); instead, it honors binary choices in a curated narrative. Even if that means Sunderfolk's game master is technically always railroading the players (a major faux pas in the tabletop community), I still think this feature sounds incredibly cool, potentially doing enough to still emulate what it's like to play in a story-driven tabletop campaign with your friends. In Sunderfolk, each player can pick from six different classes: the spell-slinging Arcanist, support-focused Bard, frontline fighter Berserker, area-of-effect specialist Pyromancer, sharpshooter Ranger, and slippery Rogue. You play as the titular Sunderfolk, anthropomorphic animals who reside in the Sunderlands, which have come under attack by the corrupting influence of shadowstones. You can play Sunderfolk with everyone in person or virtually with some or all players in different locations. While the action happens on one TV or computer screen (meaning someone will have to stream the game if you're playing virtually), each player interacts with their phone (sort of like a Jackbox Party game), allowing you to dictate what your character does next from anywhere. Sunderfolk uses its own system, but it's built on the backbone of existing tabletop games. "The game that had the biggest inspiration on us, gameplay-wise--I think even some of the audience has kind of seen it in the way that the game plays out--is Gloomhaven, which is a board game. Gloomhaven and Frosthaven are kind of our biggest inspirations," game director Erin Marek told me. "We at the studio love tabletop RPGs, but we also love board gaming and especially tactics-turn-based board games, and we know they're not super accessible for a lot of folks. There are some challenges that board games can have around long setup times, lots of reading to understand what the rules are, but there's also something really magical about getting together in person and playing in-person that is kind of that synergy, like can we make something that's like this but is more accessible to either folks who aren't familiar or maybe have opted out in the past from that experience for whatever reason and create it as that entry point. So that was our early inspiration. We've diverged from it over time, but I still think you can see it in some of the design." One of those diversions is a relationship tracker, which allows each of the players to befriend and/or romance NPCs. "[We've made] some of the NPCs romanceable, and I think that that's a particularly exciting feature if you're somebody who loves dating sims and stuff," Marek said. "We have this cast of NPCs in town that you can engage with, learn about them, and then choose to either go down a more platonic path or choose to go down a more romantic path. And you get some really awesome rewards too if you get all the way to the end of their path." Like Gloomhaven, Sunderfolk is divided into two repeating phases. "You have the mission phase, which is high intensity, everybody's working together, taking turns, trying to beat monsters, etc.," Marek said. "That's where you might see things like cinematics or the game master voiceover. Kind of at the tail ends and beginning of those missions, you'll get the story content that Anjali [Bhimani] helped voice. And then once you're in town, it's a little bit more of a breathing moment. It's the opportunity where it's like, 'Oh, I've got [a chance to] take a break. I'm going to go grab a snack.' And you're not hindered by other people not being there to continue your experience. So in that [phase], you can go on your phone, you can talk to different characters, have your own stories happening. And one of the things that is my favorite feature of the game is--we call it Mad Libs--you can name things. [You name things] in the plot, in the game, and it'll pop up in other places. ...And so it provides this opportunity for each group to leave little surprises and gifts for the other players, create inside jokes or feel like they have some sense of agency over some of the pieces of the world." There is some semblance of choice beyond these Mad Libs, but Sunderfolk isn't a huge branching RPG, so the degree of agency that players have is curated by the game master's narration. "There are main story missions, which hit at certain points in the progression that you will always play," Marek said. "But in between those, you're provided with three to four different mission options and you'll get to pick which ones you want to play or don't want to play. So there's a little bit of agency [there]. ...And then once [a mission] is selected, the [game master] helps bridge the gap, [going] 'Okay, so you chose to go there and here's why you're choosing to go there.' So a little bit is reactive, a little bit is more railroad-y. There's a little bit on both of those sides, and I think it's a decent balance. We've also tried really hard on the writing side not to have the game master put actions into the players, not to enforce an action upon a player." To enforce how hands-off the game master is in dictating the player characters' motivations, those characters do not speak. The game essentially leaves it up to the players to roleplay their characters as they see fit. However, every other character is voiced by the same person, and that person is also the sole narrator of the action and the player characters' choices: the game master. Actor Anjali Bhimani (a game master in her own right, and the voice behind roles like Overwatch's Symmetra and Apex Legends' Rampart) is the narrator and game master in Sunderfolk. "What appealed to me the most about this job was the actual make of the game," Bhimani told me. "When Chris [Sigaty] from Dreamhaven hit me up, and we sat and talked about it, and he explained to me exactly what they were trying to do with the game, how they were trying to reinvent game night, essentially, for families, for people all over the globe, and bring the simplicity of turning on a video game to the collaborative nature of tabletop, combining those two parts, those really, really wonderful parts of gaming to each other, just made so much sense to me. And I, like them, have had a similarly difficult time getting some of my friends to play a TTRPG, because there's a lot of setup and there's a lot of learning. And convincing friends that you don't have to worry about all the rules, it's an open-book test--even sometimes that doesn't get them over the finish line." "We knew we wanted somebody who had experience in the tabletop RPG space," Marek said. "It's so hard to describe, but there's this nuance between when you're narrating something versus when you're talking to your friends at a table. And I feel like anybody who plays a tabletop RPG kind of intuitively knows that difference. They experience it enough to get it. And so when we were looking at our own script, there are these moments where the narrator is a narrator, but there are also moments where they're a game master at the table talking to their party, and that is so hard to parse through without really knowing the space." "Before we even started, I asked to sit down with them and see all of the characters that I was going to be voicing this whole time, so that we could plot out [voices], and I could plot out in my head, which voices I was going to use," Bhimani said. "And not even for each one of them, but just in a sense of where in my range certain ones would live, and make sure that I really was being distinct with each one's voice. You don't know if all five of them are going to be in the same scene at any given time, right? We want to make sure that they sound a little bit different. So, we can go through and take a look at all of those and see which ones we're going to be around a lot more, and which ones we're going to be doing scenes with each other more often, and stuff like that." If you can't bring a group of people together to play even over a Discord call, you can play Sunderfolk solo. "It's not really our intended experience. I wouldn't say it's the best experience [to play solo], but yeah, absolutely you can," Marek said. "So we know some folks also might struggle to get their groups together or maybe they don't have groups that they want to play with, and so we didn't want to prevent them from being able to experience this game as well. So the only caveat is they have to control at least two heroes. You can't play it as a solo hero. You have to play at least two heroes. And you can always, if you start solo, somebody else can join you, they can leave, you can pick up their character. So there's a lot of flexibility too in just making sure if something happens to you partway through the campaign or to your group partway through the campaign, there are lots of options to continue to play without that hindering." Sunderfolk is set to launch for Xbox Series X|S, PS5, and PC in 2025.

FORT WORTH, Texas (AP) — Josh Hoover threw for 252 yards and a touchdown and JP Richardson had 149 all-purpose yards and a 38-yard touchdown reception to lead TCU over Arizona 49-28 on Saturday. On the first play from scrimmage, Wildcats quarterback Noah Fifita was intercepted by Bud Clark. TCU scored five plays later on Trent Battle’s 4-yard run. The Horned Frogs scored touchdowns on five straight drives, going at least 75 yards on nine or more plays on three of the possessions. TCU (7-4, 5-3 Big 12) drove 75 yards in 12 plays in the final 1:55 of the first half to take a 21-13 lead on Savion Williams’ 20-yard run. Hoover completed five passes on the drive, including gains of 24, 19, and 24 yards to set up Williams’ score with 20 seconds left in the half. The Horned Frogs took the second-half kickoff and drove 76 yards in nine plays to build a 28-13 lead on Battle’s 1-yard run. Richardson’s 33-yard punt return to the Arizona 34 set up a third touchdown in three possessions. He caught a short pass over the middle from Hoover and raced untouched 38 yards for the score and a 35-13 lead. Richardson led TCU with six catches for 107 yards. Four TCU running backs scored a touchdown, including Williams, who rushed for 80 yards and two scores. Battle also rushed for 28 yards and two scores. Fifita was 29 of 44 for 284 yards with two touchdowns and an interception for Arizona (4-7, 2-6). Tetairoa McMillan made nine catches for 115 yards. Scoop and score Arizona defensive lineman Sterling Lane II picked up a fumble from TCU backup quarterback Ken Seals with just over a minute left in the game and ran it 70 yards for a touchdown to cap the scoring. Nipped in the Bud Clark leads the Horned Frogs with three interceptions, including one in each of the past two games. He is tied for fifth-most in the Big 12. The takeaway Arizona: The Wildcats, who started the season in the AP Top 25 poll, will not be bowl eligible this season with a game remaining under first-year coach Brent Brennan. A year ago under coach Jedd Fisch, who is now at Washington, Arizona advanced to the Alamo Bowl for the first time since 2017. TCU: The Horned Frogs, who became bowl eligible two weeks ago, won their third consecutive game at Amon Carter Stadium after losing two in a row to UCF and Houston. TCU has won four of its past five, the only blemish a 37-34 last-second loss at Baylor. Up next TCU: At Cincinnati on Saturday. Arizona: Hosts Arizona State on Saturday. ___ Get poll alerts and updates on the AP Top 25 throughout the season. Sign up here. AP college football: andNone

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TORONTO - Live streams of Taylor Swift’s sold-out Eras Tour concerts in Toronto give devoted fans a window into the spectacle of outfits, surprise songs and elaborate stages from one of the biggest cultural events in recent memory. Read this article for free: Already have an account? To continue reading, please subscribe: * TORONTO - Live streams of Taylor Swift’s sold-out Eras Tour concerts in Toronto give devoted fans a window into the spectacle of outfits, surprise songs and elaborate stages from one of the biggest cultural events in recent memory. Read unlimited articles for free today: Already have an account? TORONTO – Live streams of Taylor Swift’s sold-out Eras Tour concerts in Toronto give devoted fans a window into the spectacle of outfits, surprise songs and elaborate stages from one of the biggest cultural events in recent memory. As the massive tour inches toward its final three shows in Vancouver early next month, feeding Swifties’ insatiable appetite has become a nightly tradition for a handful of live stream hosts based all over the world. They act as ringleaders for tens of thousands of viewers witnessing Swift’s constantly evolving show through unofficial channels. Taylor Swift performs during the opening show of the Toronto dates of The Eras Tour on Thursday, November 14, 2024. THE CANADIAN PRESS/Chris Young “I never saw it being as big as it is,” said Tess Bohne, one of the personalities credited as a pioneer of the Swift live streams. “There is a big idea of community (and) being present without being there.” Broadcasting unauthorized concert live streams on social platforms such as TikTok, Instagram and Facebook isn’t an entirely new phenomenon, but it’s one that’s been amplified with Swift’s tour. As their popularity grows, the streams are sparking conversations about copyright law and the delicate balance between protecting intellectual property and allowing listeners to embrace their fandom. “We’ve gone beyond art being a one-way conversation from the artist to the audience,” said Jay Kerr-Wilson, an IP lawyer and co-leader of Fasken’s Technology, Media and Telecommunications Group in Ottawa. “Copyright owners, generally speaking, are being more flexible and they’re not necessarily (thinking) black-and-white.” Representatives for the singer did not respond to requests for comment. For fans, the lines are already blurred. Bohne got wrapped up in the Swift live-streaming phenomenon nearly two years ago after she attended the second night of the Eras Tour, in Glendale, Ariz., and found herself consumed by the experience for days afterward. “(Often) you go to a concert and you’re like, ‘That was great, let’s move on with my life,’” the 33-year-old explained in a video call from Salt Lake City. “But there was something different. It was like, ‘No, that wasn’t enough. I’m not done.’” Eager to relive the high she felt, Bohne chased down the TikTok profiles of fellow Swifties streaming other stops on the tour. With little technical experience, she began rebroadcasting their videos, with credit, on her own TikTok profile. She would place an iPad playing their feed in front of her phone’s camera, and then swap it out with her other iPad when she found a user with a better angle of the concert. The crude setup initially drew a few thousand viewers, she said, and with more effort put into the productionher audience has grown to 100,000 to 200,000 during peak moments. Since her initial broadcast, Bohne estimates she’s streamed more than 110 of Swift’s concerts in a split-screen format, streaming the concert in one corner and munching on snacks in the other while discussing all things Swift with a chat room of strangers. Some fans donate cash, and her social media status has helped attract influencer partnerships. But the stay-at-home mom of three children said this is primarily a labour of love. Bohne is credited by many of her contemporaries as the one who inspired them to take a shot at hosting their own Eras Tour with live commentary. “A lot of people say it’s like religion for them,” explained Lucas Chalub, a Twitch streamer and longtime Swiftie. Chalub first experimented with hosting streams in August 2023. Rumours swirled that the singer might announce the release date for one of her re-recorded albums on stage in Los Angeles, so many Swifties sought out live feeds, which included his impromptu setup that night. “A lot of people joined,” remembered the 27-year-old sports journalist from Argentina. “That’s the first night that I said, ‘Why not do this every night?'” Chalub said he usually draws on streams from 10 to 15 concertgoers who are often aware their recordings might get picked up by the streaming hosts. Many bring power banks to recharge their devices and sometimes a backup phone. “We are not the heroes that people think we are,” Chalub added of his fellow streamers, crediting fans on the ground who do their work pro bono. “The real heroes are the people in the venue spending — or wasting — their time trying to live stream for us instead of enjoying the show.” The legality around live streaming Swift’s concerts is murky. In the simplest terms, the rebroadcasting of copyrighted music without a licence isn’t allowed, and platforms such as YouTube and TikTok have sometimes shut down live feeds mid-stream at the behest of record labels. It happened to Ammir Shar, a 25-year-old streamer from Blackpool, U.K., who saw his YouTube feed for the fourth Toronto concert yanked down while the show was in progress. Hosts say they worry about racking up too many takedown notices, which can risk permanently shutting down their channels. Usually after a live stream ends, they delete the footage from platforms like YouTube. However, they say attempts to silence them won’t amount to much. When one streamer falls, sometimes two others turn up. Copyright owners are still grappling with that perspective, especially when unsanctioned live streams can impact other financial stakes, said Kerr-Wilson. In Swift’s case, she sold the streaming rights to her “The Eras Tour” film to Disney Plus for US$75 million. Arguably, the lawyer suggested, a company might take issue with similar options on the market, such as a live stream. But even that seems to be an evolving conversation. “People have realized that social media and user-generated content isn’t the enemy, and, in fact, can be a powerful way to engage with fans and to be part of the conversation,” he said. “I think the trend is going to continue.” While Swift hasn’t publicly said much about the streams, several streamers believe she is aware of them. They also argue the vast majority of people tuning into their feeds already have an investment in Swift’s success. Last November, a group of technologically savvy Swifties launched Swift Alert, a phone app that sends out alerts for the highlights of each Eras Tour show. Inside the app, the creators also launched a game called Mastermind — named after a Swift song, of course — where fans can win prizes by guessing which of Swift’s rotating selection of outfits she’ll wear for each “era” of her performance. Using Swift Alert in tandem with the live streams, many fans tune in for the standout moments of the three-hour concert. “A lot of people compare it to fantasy football,” Shah said. “This kind of stuff brings us closer together.” With the Eras Tour set to end in Vancouver on Dec. 8, many live streamers say they’re uncertain how the future looks. Recently, Bohne experimented with a live stream from pop singer Meghan Trainor’s concert to see if there’s similar interest. While it was enjoyable, she said the experience wasn’t quite the same. Others have started streaming Sabrina Carpenter’s Short n’ Sweet Tour. They say her shows are closest to Swift’s because Carpenter is a natural at witty banter, performs nightly surprise songs and changes up her outfits. Winnipeg Jets Game Days On Winnipeg Jets game days, hockey writers Mike McIntyre and Ken Wiebe send news, notes and quotes from the morning skate, as well as injury updates and lineup decisions. Arrives a few hours prior to puck drop. “I’ve considered doing a few other (musicians, but they) are more like normal concerts — the artist on the stage with a microphone in one outfit, just singing their songs,” said Shah. “It’s not something that people at home will be like, ‘What outfit is she going to wear?'” Some wonder how live streaming will look without the intrigue of Swift’s tour. Added Bohne: “No concert is like The Eras Tour.” This report by The Canadian Press was first published Nov. 23, 2024. Advertisement AdvertisementTORONTO , Nov. 23, 2024 /CNW/ - This holiday season, the Electronic Recycling Association (ERA) is spreading the spirit of giving with its annual 12 Days of Electronic Giving campaign. Aiming to donate over 200 electronic devices to charities across Canada , ERA is committed to empowering organizations to deliver critical services to their communities. However, the demand for electronics remains pressing. More than 500 charities are still on ERA's waitlist—a number that highlights the urgent need for public and corporate donations of pre-loved technology. "Together, We Can Create Impact" Bojan Paduh , Founder and President of ERA, urges individuals and businesses to step up this holiday season: "We've accomplished so much, but hundreds of charities are still waiting for essential technology to continue their work. I encourage everyone to consider donating their unused laptops, tablets, or cell phones. Your generosity can transform lives and reduce e-waste at the same time." ERA's 12 Days of Electronic Giving campaign is already making an impact, supporting a wide range of organizations across the country, including: Children's Autism Services of Edmonton – Edmonton, AB Winnipeg Humane Society – Winnipeg, MB Bent Arrow Traditional Healing Society – Edmonton, AB Canadian Mental Health Association – Toronto, ON York Region Educational Services – Toronto, ON It Takes a Village Community Outreach and Advocacy – Halifax, NS Toronto Fringe – Toronto, ON Marina Housing Co-op – Vancouver, BC Agape Table Inc. – Winnipeg, MB Greater Edmonton Live-In Society – Edmonton, AB Equal Housing Initiative Inc. – Winnipeg, MB Valley Community Learning Association – Kentville, NS Alberta Children's Hospital – Calgary, AB How You Can Help The holidays are the perfect time to give back. If you or your organization have unused electronic devices gathering dust, ERA invites you to donate and make a meaningful difference. Whether it's a laptop, tablet, or cell phone, every device can create opportunities, reduce e-waste, and bring hope to someone in need. Donating is Simple ERA offers convenient, free pickup services across Canada . Call: 1-877-9EWASTE / Email: info@era.ca / Visit: www.era.ca to schedule a pickup. Let's Make This Season Count "Your donation today can change lives tomorrow," adds Paduh. "Together, we can meet the urgent needs of these charities while fostering a sustainable future." Don't wait—help ERA ensure no charity is left behind this holiday season. SOURCE Electronic Recycling Association View original content: http://www.newswire.ca/en/releases/archive/November2024/23/c4033.html © 2024 Benzinga.com. Benzinga does not provide investment advice. All rights reserved.

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