I understand some folks frustration with accessing the deeper levels of the play. Especially since there isn’t any guidance currently into how to do this beyond calculating and analyzing all the time. Part of the challenge is that Qyshinsu requires a different way of thinking than perhaps most games. The key is learning to understand how to limit your opponents options in a way that will lead them to a state in which they can no longer perform a legal move. In this respect, ones attention needs to be on what the other player cannot do because of your actions.

This is my primary motivation for writing the next volume. To provide ways for folks to “flow” – a more intuitive, creative, style of play.

Suffice to say, I don’t have all the answers but I can assist in ensuring that we are asking the right questions. In the meantime, here’s a tip – when you place or remove a stone, think about which stones your opponent cannot place (if option is available) on their next turn.

Peace

RF

As more information becomes available. I will update the site accordingly. Thanks for visiting.

Download zip file:  Qyshinsu: Zillions version

For those unfamiliar with the Zillions of Games software, you may see more information here – http://www.zillions-of-games.com

Rodney– 

  Thought you’d like to hear this: I was playing Zhadu with a friend at a local diner, and the couple next to us asked what it was we were playing. We described the game and told them a little about you, and left them with one of your business cards. I honestly don’t expect that it’ll lead to a sale or anything, but, it does speak to how elegant and beautiful the game both looks and feels. Congrats — Zhadu’s a very good game that I expect to enjoy for many years to come.

–Jason

Qyshinsu is the second chapter of a sacred journey told through the eyes of a fictional traveler named Hakummar. He travels to a far away land in search of the legendary Master Qy. Along his way, he encounters a mysterious herbalist named Li. She assists him on his sojourn as he discovers the secrets that lie within the ancient practice known as Qyshinsu.

It was nice to show folks of what my work actually involves – I create the game, the graphic design, and writing also. It was also an opportunity to thank my woodworker Tim who has been with me on this strange journery of mine since day one. I enjoyed providing folks with a sense of what actually goes into my “work”. Although the pieces are manufactured, all the boards are handcrafted by Tim himself. The quality of craftmanship he brings is invaluable.

The road has been a long as look back over the last 15 years of quietly mastering my “craft”. I proud to release this latest collection as the depth alone is worthy of exploration. I am currently working on my 6th game while the 3rd, 4th, and 5th are eagerly awaiting to be released as well. As a friend of mine once said, “In all things there own time.”

To those who have and continue to support me and my work throughout the years, I simply bow and say “Thank you”!

“The path you travel are the steps you leave behind” – Guhrel

This results in a total of 32 spaces on the Zhadu board for the stones to move along. One’s journey in becoming adept at Zhadu consists of learning to understand the “pathways” of which the stones travel.

In the picture above, the lines represent how one space relates to another within a triangle and the “pathways” by which a stone may in fact travel from one triangle to the next. The points or intersections represent where a stone may reside.

“Many paths of Zhadu remain hidden from the onset. It  is crucial to know how to walk before deciding on ones destination.“ – Hakummar

Some folks have inquired how come these so-called “pathways” aren’t made visible on the board itself. Besides the aesthetic considerations, the learning of the pathways as illustrated in the image is not meant to be the end of understanding, but the beginning. In order to truly explore the subtle depth of Zhadu, one must learn to see beyond the individual spaces (this includes “counting” them as well) and start seeing the board in terms of ‘diamonds’. This is referred to in the narrative as the lost art of the Gaze. We’ll explore this in another discussion.

The combination of the Stone of 2 and the Stone of 3 makes for some interesting circumstances regarding the play. Each one can reside in the shade of the other without concern while still being able to threaten the other stone directly.

In the picture above, when the Stone of 3 resides on a space that is adjacent to one or two other angles, these angles that are adjacent to those are hidden from this stone. Although these spaces reside within the range of this stone, it is unable to move to these spaces in a single turn due to the nature of its movement.

“Such is the elusiveness of the Stone of 3 that I had previously not considered. Its power in range is usually its most mentioned attribute, but I realized it is the way it casts its Shades that sets this stone apart from the others.” – Hakummar

In the picture to the right, the Stone of 3 resides on an angle that is adjacent to only one other angle of another triangle. Since this other angle has no additional angles adjacent to it, the Stone of 3 casts no shade when it resides here.

As mentioned with the ‘Stone of 2′, the importance of understanding the nature of the Shades lies in the fact that an empty space(s) is created for which another stone can reside in. This other stone could be ones own thereby securing or protecting the space, or the opponent’s stone.

The Shades of the Stone of 3 are larger in number when this stone resides on an angle near the center of the board. While this is true for the Stone of 2 and the Stone of 4 as well, it is the ability of the Stone of 3 to move a space closer to its own shade without stepping into it directly that makes this stone formidable. In some strategies, the Stone of 3 is maneuvered in a way to lure opposing stones into its shades in order to maneuver to an adjacent angle to the opposing stone on either side.

Only the Stone of 2, Stone of 3, and the Stone of 4 are susceptible to casting a shade depending on where these stones actually reside on the board. The limited range of the Stone of 1 and the diversity of the Open Stone renders both of these stones immune from casting a shade.

The Stone of 2 has been considered a prime example of demonstrating the mystery of the Shades. In the picture above, when the Stone of 2 resides on a space that is adjacent to one or two other angles, those angles are hidden from this stone. Although these spaces reside within the range of this stone, it is unable to move to these spaces in a single turn due to the nature of its movement.

“I was at a loss for words upon seeing how Guhrel’s stone was near to my own but in some ways so far away. Before I could even respond, he whispered , ‘Shades’. I wasn’t sure if I heard correctly. Again, he whispered, ‘Shades’ almost realizing my own uncertainty.” – Hakummar

In the picture to the right, the Stone of 2 resides on an angle that is adjacent to only one other angle of another triangle. This space as well is hidden from this stone although it resides within this stone’s range of movement.

While the Stone of 2 is formidable in terms of strategies related to the Sharing, it’s potential shortcoming lies in the way in which it casts its Shades. The importance of understanding the nature of the Shades lies in the fact that an empty space(s) is created for which another stone can reside in. This other stone could be ones own thereby securing or protecting the space, or the opponent’s stone.

By its nature, a Shade is neither advantageous or disadvantageous. How one actually is able to utilize them to ones benefit determines the worth therein. In some circumstances, one may wish to cast a shade in order to lure an opponent’s stone to a particular angle. This angle may prove to be beneficial to one in terms of positioning purposes. At other times, one may wish to avoid casting shades altogether thereby not allowing ones opponent any leverage in maneuvering in an unsecured manner.

He told me not to worry about about for when I did “step back into” it, Zhadu will be better than it was before. Puzzled by this, I asked him how so. He simply said,”Because you will be better.”

The epiphany of that moment dawned on me for sometime. I realized upon further reflection that there was a “rhythm” to my ‘craft’ or process. A rhythm that I could trust. I had become so attached the idea that the “discipline” of my craft required that I engage the game every single day – i.e. journaling, sketching, etc. There is something to be said for this because the game does need an investment of oneself. But there is another side to flow as well – repose. I looked at this as the silence in-between the notes of a musical piece.

Over the years, I’ve come to appreciate the fact that each one of my games had a particular rhythm to it while I was creating it. Some required a non-stop, up till 3am kinda energy, while others simply continued in more slow and deliberate fashion. One must also cultivate an awareness of the factors in ones life that influence or impact ones ability to ’surf’ the process. I realized that creating spaces of quiet, inside and out, became part of the work itself.

The challenge at times is knowing when and how to “break” a particular rhythm and change it accordingly. But that is for another discussion