Rules and Game Play
1. The 7 attackers initially are situated at the farthest ring from the castle each occupying its own space; only the space in the Neutral Zone is left empty. There are 4 defenders in the first ring (the ring closest to the castle) leaving one space between them in such a way that the space in the Neutral Zone is also left empty.
2. Players decide who will be the attackers and who will be the defenders. Players alternate their turns.
3. Only one piece is moved per turn. Pieces cannot share the same space.
4. Attackers move first.
5. Attackers can move one space forward (toward the castle), or one space left or right on the same ring. Attackers cannot move backwards (away from the castle).
6. Defenders can move one space forward, backwards, or left or right on the same ring. Only one piece is moved per turn. Pieces cannot share the same space.
7. Defenders cannot enter the castle.
8. Pieces are captured similarly as in Draughts. An attacker can hop over a defender that is adjacent to it either from the front, left, or right, and must land on a vacant space. Attackers cannot capture a defender from behind, that is, a defender that is one space farther back in the same pie slice.
9. Defenders capture similarly to attackers, except they can capture from the front, left, right, and behind.
10. Captures are not mandatory. Multiple jumps/captures (as in Checkers) are not allowed.
11. Pieces in the Neutral Zone cannot be captured. However, it can be jumped.
12. A piece can land on the Neutral Zone after a sideways capture. A sideways capture can also start from the Neutral Zone.
13. The number of attackers in the Neutral Zone cannot be more than the number of defenders left on the board. For example, if there are two defenders left in the game, then there can only be up to two attackers in the whole Neutral Zone.
14. A defender on the second ring cannot capture an attacker on the first ring and land on the castle (even if it is empty) since defenders are not allowed to be in the castle.
15. A defender can jump over the castle, and capture an attacker in it.
16. There are variations to Ringo to give the defenders a better chance of winning. One rule is to not allow attackers to enter from the Neutral Zone. Another rule is to reduce the number of attackers to 5 or 6 pieces. Another rule is allow the defenders to pass a turn. Lastly, a rule that allows only 1 attacker in the Neutral Zone.
Read more about this topic: Ringo (game)
Famous quotes containing the words rules and, rules, game and/or play:
“Children can’t make their own rules and no child is happy without them. The great need of the young is for authority that protects them against the consequences of their own primitive passions and their lack of experience, that provides with guides for everyday behavior and that builds some solid ground they can stand on for the future.”
—Leontine Young (20th century)
“There is no country in which so absolute a homage is paid to wealth. In America there is a touch of shame when a man exhibits the evidences of large property, as if after all it needed apology. But the Englishman has pure pride in his wealth, and esteems it a final certificate. A coarse logic rules throughout all English souls: if you have merit, can you not show it by your good clothes and coach and horses?”
—Ralph Waldo Emerson (1803–1882)
“My first big mistake was made when, in a moment of weakness, I consented to learn the game; for a man who can frankly say “I do not play bridge” is allowed to go over in the corner and run the pianola by himself, while the poor neophyte, no matter how much he may protest that he isn’t “at all a good player, in fact I’m perfectly rotten,” is never believed, but dragged into a game where it is discovered, too late, that he spoke the truth.”
—Robert Benchley (1889–1945)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)