Age Of Mythology Full Version
Harriet Wehrenberg
[This article first appeared on Christian Today - link]
There was a flip chart hanging around one of my office meeting rooms recently and on it was written the question: "What is blocking you from becoming the best version of yourself?"
At first I paid it no attention, it was a question that I had heard several times in different Christian settings over the last couple of years. But the more I looked at it, the more annoyed I felt.
Patrick J Adams' character in Suits 'fakes it to make it'. I took to researching this idea a little more and to be honest I felt pretty confused. Lots of the articles that I explored were really brilliant and offered fantastic and positive advice. Time's 'How to be the best version of yourself' article by Ken Mazaika offers tips like, 'Accept help from others,' and 'Celebrate the small wins', all things that I would wholly advocate. So why was I so uncomfortable?
Having spent two years working on our new book The Power of Belonging with Rob Waller, I know I have become super-sensitive to issues of true belonging. Since I've written a book based on the premise that many of us feel like a fraud, at least some of the time, you can see where I am coming from. It wasn't the content that I found shallow, it was the very principle that there might be virtue in creating a 'version of you'.
I wondered how we had become so pragmatic about dialling up 'different faces in different spaces'. But then it struck me that it's a natural progression in a culture that has advocated the 'fake it to make it' mode of achieving. Before I sound too self-righteous, I was totally sucked in by college dropout Mike Ross (Patrick J Adams) in Suits Series 1, who becomes a competent legal associate despite having never attended law school. We love a fantasy in which all of the struggles and challenges of life are edited out and we are living the dream without any of the downside. But how fulfilling is it really?
My issue with 'Fake it to make it' culture is how self-destructive it is. 'Fake it to make it' is the worst career advice anyone could ever receive, not because they won't make it, but because of what happens when they do. Baumeister and Leary's 1995 study proposes the simplest underlying motivation behind so much of our human behaviour, the need to belong: 'That human beings have a pervasive drive to form and maintain a minimum quality of lasting positive and significant interpersonal relationships.'
The prerequisite to our belonging is our authentic presence, since you cannot belong if you cannot be known. If you do 'Fake it and make it', you land in a gilded cage where your material success is founded on a relational deceit. To succeed requires you to maintain the fraud, but to belong requires to do the opposite.
If there is any virtue in 'Fake it to make it', surely it is the simple acknowledgement that we are faking it and that we have some greater understanding of who we really are. The 'version of you' idea is altogether more malign, because it suggests our duplicity is credible: that there are innumerable versions of us being authentic and human. Which one of these belongs here is anyone's guess, since life becomes a terrifying matrix of interchanging relational combinations that we test for best fit.[Belonging]In a culture marked out by 'loneliness in plain sight' belonging has never felt so urgent and yet seemed so far away from people's experience. The same could be said for God, but one is the remedy of the other. We cannot offer God a 'version' of ourselves since he knows us truly, and despite knowing us better then we know ourselves, he loves us and claims us as his own: 'You are mine' (Isaiah 43:1).
If we are ever going to belong in life, it is going to be because we risked really showing up. That means letting go of 'versions of you' and all kinds of fakery for the sake of success. Just as our belonging to God is established on our true selves, so is our relationship with each other.
Life is messy and full of down sides, but I would rather risk being known, than live behind a version of me.
'The Power of Belonging: Discovering the Confidence to Lead with Vulnerability' is published by David C Cook. For more information or to buy see www.powerofbelonging.com.
Rev Will van der Hart has been a priest in the Church of England for 15 years and is currently pastoral chaplain at Holy Trinity Brompton in London. He is a director of the Mind and Soul Foundation.
Does someone know more about this? I would simply create a new tag for it (for example minecraft-greek-mythology), but I know absolutely nothing about this game, so I wouldn't know what to write into the tag wiki.
When you apply a texture pack to your world, everything looks different but still behaves the same. The person asking the question simply wants to know what texture the zombie villagers have when the Greek Mythology texture pack is applied. The behavior of a zombie and a zombie villager is the same, so if you don't know the difference between the textures you would have to use trial and error to figure out which is which, which can be annoying for what the poster is trying to do.
A spin-off from the Age of Empires series, Age of Mythology takes some of its inspiration from mythology and legends of the Greeks, Egyptians, and Norse, rather than from actual historical events.[3][4] Many gameplay elements are similar to the Age of Empires series. Its campaign follows an Atlantean admiral, Arkantos, who is forced to travel through the lands of the game's three cultures, hunting for a cyclops who is in league with Poseidon against Atlantis.[5]
Like many other real-time strategy games, Age of Mythology is based on defeating enemy units and towns, building your own units and towns, and training villagers and fighters. In this way, players are able to defeat and conquer rival towns and civilizations. Players advance their tribe through four "Ages": starting in the Archaic Age, the player may upgrade to the Classical Age, the Heroic Age, and finally, the Mythic Age. Each upgrade to a higher Age unlocks new units and technologies for the player, which strengthens their settlement. However, upgrading requires a sum of resources to be paid and a certain prerequisite building to be constructed.[8]
Buildings in Age of Mythology can generally be split into three categories: economic, military, and defensive. The most important economic building is the Town Center, which is similar to the building of the same name in the Age of Empires series games. Most civilian units are trained at the Town Center, as are some improvements. Most importantly, players advance Age via the building. The Town Center provides 15 population slots, and building additional houses will earn the player 10 additional slots per house. In the Heroic Age, players may claim settlements (unclaimed Town Centres) for additional population slots. In some cases owning all town centres will trigger a countdown to victory.[12] Other economic buildings include the farm and market.
Buildings are able to research improvements, as well as provide resources for the player.[12] All units except civilians and myth units are trained at military buildings. These buildings differ in name and purpose between culture, but all are able to train similar units. Military buildings are also used to research military specific technologies, such as armor upgrades, and attack improvements.[12]
Walls and towers are defensive structures, which are not able to train units, and are used only for the purposes of defense. They are able to research some upgrades, although these are generally only useful to the building performing the research.[12] Another type of building available to players, is a Wonder: a grand building that represents an architectural achievement of the civilization. In certain game modes, once a player builds a wonder, a ten-minute countdown begins. If the wonder is still standing after the countdown ends, the player who built the wonder wins.[12]
The Age of Mythology editor is far more advanced than that of its predecessor, the Age of Empires II scenario editor.[17] As well as standard unit placement facilities, the editor allows units to be overlapped, and it facilitates for large mountains, and steep terrain.[18] Triggers, a popular aspect of scenario design in Age of Empires II, are also present in Age of Mythology's editor, as well as cinematics and other special effects.[19]
Unlike the campaign modes in Age of Empires and Age of Empires II, Age of Mythology only has one central campaign, Fall of the Trident. The campaign is significantly longer than campaigns in previous games, with a total of 32 scenarios.[20]
Multiplayer is a highly popular aspect of Age of Mythology.[citation needed] Most multiplayer games are played through Ensemble Studios Online (ESO), or via a direct LAN or IP connection.
Age of Mythology included unlimited free multiplayer accounts on ESO. As of December 2011[update] it is no longer possible to create new accounts but access to already created ones is still possible. Similar in function to Blizzard Entertainment's Battle.net, ESO allows players to play matches, as well as chat with other players.[21]
Atlantean admiral and war hero Arkantos arrives at Atlantis after several years[citation needed] of warfare to see his son, Kastor. However, he is ordered by the Atlantean councillor and theocrat, Krios, to sail to Troy to assist Agamemnon in the Trojan War. Just then, the island is attacked by krakens[24] and the Black Sails, a group of pirate bandits led by the minotaur Kamos, a fierce enemy of Arkantos. After the trident from Poseidon's statue gets stolen, Arkantos raids the pirate settlement on a nearby island, where he recovers the trident, although Kamos escapes on a leviathan and vows revenge. Arkantos sends the trident back to Atlantis and sails away, leaving Kastor behind against the latter's wishes.
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