The Saffir–Simpson hurricane wind scale (SSHWS) classifies hurricanes—which in the Western

Hemisphere are tropical cyclones that exceed the intensities of tropical depressions and tropical storms—into
five categories distinguished by the intensities of their sustained winds. This measuring system was formerly
known as the Saffir–Simpson Africa and moved across the Atlantic. Four days later, Tropical Depression
Thirteen developed about 980 mi (1,580 km) east-southeast of Antigua, which quickly intensified into Tropical
Storm Laura. Wind shear prohibited further intensification as the storm moved across the northern Leeward

g effects,
Islands, the

setting up
functions,
testing games,
etc. Fortnite (2
[1]

017) has game

modes which
allow players to
either fight one
another, fight off
monsters,
create their own
battle arenas,
race their
friends, or jam
out to popular
songs with
instruments.
Terminology
[edit]

From a video
game
development
standpoint, a
sandbox game
incorporates
elements of
sandbox design,
a range of game
systems that
encourage free
play. Sandbox
[2]
design can
either describe
a game or
a game mode,
with an
emphasis on
free-form game
play, relaxed
rules, and
minimal goals.
Sandbox design
can also
describe a type
of game
development
where a
designer slowly
adds features to
a minimal game
experience,
experimenting
with each
element one at
a time. There
[3]
are "a lot of
varieties" of
sandbox design,
based on "a
wide range of
dynamic
interactive
elements". Thu
[2]
s, the term is
used often,
without a strict
definition. Gam
[4]

e designers
sometimes
define a
sandbox as
what it is not,
where a game
can "subtract
the missions,
the main
campaign, the
narrative or
whatever
formatively
binds the
game's
progression,
and you have a
sandbox." [2]

In game design,
a sandbox is
a metaphor for
playing in a
literal sandbox. [5]

[6]
Game
historian Steve
Breslin
describes "the
metaphor [as] a
child playing in
a sandbox ...
produc[ing] a
world from
sand",
compared to
games with
more fully
formed content.
[2]
This metaphor
between the
virtual and literal
sandbox is
noted
by architectural
scholar Alexand
ra Lange, with a
sandbox
describing any
bounded
environment
that offers
freedom to
explore and
construct. This
[7]

can distinguish
it from
conventional
ideas of a
game, where
the
metaphorical
sandbox is a
"play space in
which people
can try on
different roles
and imaginary
quests ... rather
than a 'game' to
play." [8]

In describing
video games,
sandbox design
is often
associated with
the open
world gameplay
mechanic and
vice versa, but
these are two
disparate
concepts. Open
worlds are
those where the
player's
movement in
the virtual world
is typically not
limited by the
game allowing
the player to
roam freely
through it.
[9]
Adventure on
the Atari 2600 is
considered an
open world
game as the
player can
explore the
entire game
world save for
through locked
gates from the
start, but it is
not considered
to have
sandbox design
as the player's
actions are
generally
restricted. Simi
[2]

larly, games
like Microsoft
Flight
Simulator are
also open world
since the player
can take their
plane anywhere
in the game's
virtual world, but
as there is no
creative aspects
to the game,
would not be
considered a
sandbox. [2]

Characteristics
[edit]

Sandbox design
can incorporate
several
different game
mechanics and
structures,
including open
worlds, nonlinea
r
storytelling, eme
rgent behaviors,
and automation
of believable
agents. [2][10]
It
represents a
shift away from
linear
gameplay. [11][12]
T
his freedom is
always a
question of
degree, as a
sandbox design
"engenders a
sense of player
control, without
actually handing
over the reins
entirely". [2]

Player creativity
is often included
in sandbox
design. When a
player is
allowed to use a
game as a
sandbox, they
gain the
freedom to be
creative with
their gameplay.
[13]
A sandbox
will have a
combination of
game
mechanics and
player freedom
that can lead to
emergent
gameplay,
where a player
discovers
solutions to
challenges that
may not be
intended by the
developers. A[2]

sandbox
sometimes
gives the player
"transformative"
power over the
game world,
where "the free
movement of
play alters the
more rigid
structure in
which it takes
shape." Will
[14]

Wright
describes this
generative
aspect of
sandbox
designs, leading
to a measurable
increase in
player
possibilities. J
[15]

ohn
Smedley descri
bes this type of
emergent
gameplay more
succinctly,
having seen
in EverQuest "h
ow hungry
people are for
sandboxes -- for
building stuff".
[16]
GameDevelo
per.com notes
the growth of
player-
generated
content as a
"particular brand
of sandbox
design: that
game design is
so fun in itself
that, if properly
packaged, it can
well be
reinterpreted as
gameplay itself".
[2]

Some games
offer a separate
sandbox mode,
where the
player can use
a game's
creative
systems with
fewer
constraints. "T
[17]

his mode has

few restrictions
on what he may
do and offers no
guidance on
what he should
do." For
[18]

example, a
sandbox mode
might unlock
unlimited
resources, or
disable enemy
threats. A
[19]

sandbox mode
is separate from
the campaign
mode, without a
main narrative
progression. In
[2]
one sense, an
approach to this
design is to
"enable the
player to
continue after
the main
storyline has
been 'won'." [20]

Many
games tutorials
utilize this type
of design, since
"sandboxes are
game play
much like the
real game, but
where things
cannot go too
wrong too
quickly or,
perhaps, even
at all. Good
games offer
players, either
as tutorials or
as their first
level or two,
sandboxes." T [21]

he game
designers
allows players
to experiment in
a safe
environment, as
"the point about
open-ended/san
dbox design
and when they
work best in
teaching the
player is
through learning
by doing". [22]

Cohesive
narratives in
sandbox design
can be difficult
since the player
can progress
through the
game in a non-
linear manner.
[23]
Some
sandbox
designs
empower
players to
create their own
stories, which is
described as
sandbox
storytelling. S
[24]
andbox stories
can either
replace or
enhance a main
plot. Some
[25]

games give
players "pure
agency by
giving them
tools and a
sandbox", sac
[26]

rificing the story

in favor of
player creativity.
[27]
Where the
game systems
are reactive
enough, this
"does not
remove the
narrative, but
rather
transforms
predetermined
narrative into
dynamic,
responsive
narrative". Acc
[2]

ording to Ernest
Adams, "in
sandbox
storytelling, the
idea is to give
the player a big
open world
populated with
opportunities for
interesting
interactions ... in
any order".
 Sandbox
[24]

stories can also

be told through
shorter quests,
conversations,
collectables, an
independent
opponents or
teams. Games
with many
independent
players are
difficult to
analyze formally
using game
theory as the
players may
form and
switch coalitions
. The term
[20]

"game" in this
context may
mean either a
true game
played for
entertainment or
a competitive
activity
describable in
principle by
mathematical
game theory.
Game theory

Main
article: Game
theory
John
Nash proved
that games with
several players
have a stable
solution
provided that
coalitions
between players
are disallowed.
Nash won
the Nobel
prize for
economics for
this important
result which
extended von
Neumann's
theory of zero-
sum games.
Nash's stable
solution is
known as
the Nash
equilibrium. [21]

If cooperation
between players
is allowed, then
the game
becomes more
complex; many
concepts have
been developed
to analyze such
games. While
these have had
some partial
success in the
fields of
economics,
politics
and conflict, no
good general
theory has yet
been
developed. [21]

In quantum
game theory, it
has been found
that the
introduction
of quantum
information into
multiplayer
games allows a
new type of
equilibrium
strategy not
found in
traditional
games.
The entangleme
nt of player's
choices can
have the effect
of a contract by
preventing
players from
profiting from
what is known
as betrayal. [22]

Types

See also: List of

game genres

Tug of war is an easily organized, impromptu game that requires

little equipment.
Games can take
a variety of
forms, from
competitive spor
ts to board
games and
video games.
Sports
Main
article: Sport

Association football is a popular sport worldwide.

Many sports
require special
equipment and
dedicated
playing fields,
leading to the
involvement of a
community
much larger
than the group
of players. A
city or town may
set aside such
resources for
the organization
of sports
leagues.
Popular sports
may
have spectators
who are
entertained just
by watching
games. A
community will
often align itself
with a local
sports team that
supposedly
represents it
(even if the
team or most of
its players only
recently moved
in); they often
align
themselves
against their
opponents or
have traditional
rivalries. The
concept
of fandom bega
n with sports
fans.
Lawn games

Lawn
games are
outdoor games
that can be
played on
a lawn, an area
of mowed grass
(or alternately,
on graded soil)
generally
smaller than
a sports
field (pitch).
Variations of
many games
that are
traditionally
played on a
sports field
are marketed as
"lawn games"
for home use in
a front or back
yard. Common
lawn games
include horsesh
oes, sholf, croq
uet, bocce,
and lawn bowls.
Tabletop games
Main
article: Tabletop
game
A tabletop game
is a game
where the
elements of play
are confined to
a small area
and require little
physical
exertion, usually
simply placing,
picking up, and
moving game
pieces. Most of
these games
are played at a
table around
which the
players are
seated and on
which the
game's
elements are
located.
However, many
games falling
into this
category,
particularly part
y games, are
more free-form
in their play and
can involve
physical activity
such as mime.
Still, these
games do not
require a large
area in which to
play them, large
amounts of
strength or
stamina, or
specialized
equipment other
than what
comes in a box.
Dexterity and coordination games

This class of
games includes
any game in
which the skill
element
involved relates
to manual
dexterity or
hand-eye
coordination but
excludes the
class of video
games (see
below). Games
such
as jacks, paper
football,
and Jenga requi
re only very
portable or
improvised
equipment and
can be played
on any flat level
surface, while
other examples,
such
as pinball, billiar
ds, air
hockey, foosball
, and table
hockey, require
specialized
tables or other
self-contained
modules on
which the game
is played. The
advent of home
video game
systems largely
replaced some
of these, such
as table hockey;
however, air
hockey,
billiards, pinball
and foosball
remain popular
fixtures in
private and
public game
rooms. These
games and
others, as they
require reflexes
and
coordination,
are generally
performed more
poorly by
intoxicated
persons but are
unlikely to result
in injury
because of this;
as such, the
games are
popular
as drinking
games. In
addition,
dedicated
drinking games
such
as quarters and
beer pong also
involve physical
coordination
and are popular
for similar
reasons.
 Carnival: it is celebrated in the month of February without a definite date, for more than 450 years.
The oldest carnival in the country begins with the funeral walk and the burning of bad mood,

[22]
represented by a rag doll.

 San Román Fair: from September 14 to 30. It begins with the descent of the Black Christ from the
Church of the homonymous neighborhood.
 San Francisco Fair: held from October 4 to 19.
 International Cervantino Festival.
 Cultural Festival of the historic center: it takes place in December
 Expoindustrial
Media
[edit]

Press
[edit]

 Tribuna de Campeche
 Novedades de Campeche
 Crónica de Campeche
 El Sur de Campeche
 El Expreso de Campeche
 Campeche Hoy
 La N de Campeche
 Semanario Horizonte
 La Opinión
 Por Esto!
Television
[edit]

XHCAM-


TDT ...24 ( 7.1

HD ) - Azteca 7
24 (7.2 SD)


- a+
 Cathedral, its end is large and studied.
 'Campechanita Habanera.' This dance is a classic Havana or Cuban chain. It goes back to the year
of 1861 and was danced in all the salons of the time; The dance opens with the salt shaker that
characterizes the campechanos and concludes with a zapateado to finish off.
 'Syrup Gatuno.' Piece considered to be large classic, is a cat; its importance is that only in Campeche
survives in its three versions, because it was condemned to disappear for not agreeing to the customs of
its time.
 'The Fandango.' They are large classic, based in Campeche, since the 18th century, and is still in some
regions. Because of its idea of disorder and hustle and bustle, it is interpreted in very lively and cheerful
ways without making a couple or defining with whom you dance, all dance and zap in confusion, marking
 and challenging with heel strokes who is closest indifferent to the opposite sex. It retains the Spanish style
very marked, it is written in three-beat measure and there is no news of its copla.
 'Cuban Arabic.' This is a short but very energetic dance, it is written in six eighths and its genre is
zapateado. It is danced linked by the waist and with the free hand up, it is always done in the game of two
couples or in even numbers that evolve, heel and valsean with very fast turns and running almost the
entire stage, it is repeated several times, it concludes with a strong blow and displace the public, asking for
applause.
 'Campechito retrechero.' It is the diminutive affectionate together with the traditional expression that means
the contagious joy and the carefree limitlessness of the Campeche spirit, given name to this typical jarana.
The dancers embellish themselves with their heels and infect the spectator, with the bullanguera chant of
an ancient town that has managed to project a personality across seas and continents.
 'Baile del Almud.' Set of mestizo sounds that naturalized in Yucatán and Campeche, acquired the name
of jarana; The skillful heel and shot at 6x8 pace make it very lucid. When running on a bushel, its beauty
becomes more significant, when the music is interrupted, the dancers continue to zap, taking turns in this
fate, and demonstrating their ability.
Gastronomy
[edit]

Gastronomy is one of the best in Mexico. Remembering the "Cruise Poet" Yucatecan, Campeche's deep
admirer:

"Two things have Campeche that cause admiration: His pickled branch ... And his rich Cazón Bread."
Among its dishes is the seafood cocktail, pickled fish, and Cazón bread. Other dishes include the Sierra Frita,
the Pámpano in Verde, as well as appetizers from region such as panuchos and tamales coladas, among
others.

 Pan de cazón: a stacked, casserole dish consisting of tortillas, beans and dogfish with a tomato-based
habanero sauce.
 Cazón empanadas
 Aguas frescas: (horchata, Jamaica, black tea)
 Coconut shrimp
 Green branch
Fairs and cultural events

e
of Champotón.
In 1546, when
the conquest of
Yucatan
seemed to be
over, Montejo
and his wife
traveled to San
Francisco de
Campeche to
meet with his
son and his
nephew. The
Maya had
organized in
secret, and a
great rebellion
broke out on the
night of 8
November 1546
(5 Cimi 19 Xul,
end of
the Mesoameric
an Long Count
calendar).
Montejo’s son
and nephew
took up arms to
end the
rebellions the
following
year. [11]
Viceroyalty period
[edit]
 The Temple and Convent of San Francisco (1540) — one of the
oldest in the Americas — built on the site of the first mass in mainland Mexico in 1517

Like most cities

constructed by
the Spanish
conquistadors,
the city of
Campeche was
designed in a
standard
military fashion
based on a grid
plan, with
[12]

a Plaza de
Armas near its
center. Aroun
[13]
d this main
square were
located
the Campeche
Cathedral,
the Royal
Audience and
the houses of
the highest-
ranking officials.
A pillory — a
column that
served as a
symbol of
Spanish power
and justice —
stood in the
center of the
plaza. The jail,
the municipal
palace and the
defense tower
would be built
soon after. The
market was
located around
a smaller plaza.
The Spanish
residents lived
and worked
near the main
square, in the
current
neighborhood of
San Román,
while the
indigenous
Maya people
lived in the old
pre-Hispanic
settlements —
currently the
neighborhoods
of San
Francisco and
Siete de
Agosto. The
Naboríos,
indigenous
Mexicans who
arrived with the
conquistadors,
occupied the
San Román
neighborhood,
while th
Tropical Storm Theta

[edit]
 Tropical storm (SSHWS)

Duration November 10 – November 15

Peak intensity 70 mph (110 km/h) (1-min);

987 mbar (hPa)

On November 6, the NHC began monitoring a non-tropical area of disturbed weather in the central Atlantic for
possible gradual subtropical development.[118] A non-tropical low subsequently formed about 1,300 mi
(2,100 km) west-southwest of the Azores on November 8. The system became better organized as it began to
detach from a frontal boundary during the following day. At 00:00 UTC on November 10, it developed into
Subtropical Storm Theta. By 18:00 UTC that afternoon, the storm had transitioned into a tropical storm; it
simultaneously attained what would be its peak intensity, with maximum winds of 70 mph (110 km/h) and a
minimum pressure of 987 mbar (29.1 inHg). By the following morning, the effects of strong southwesterly shear
had weakened Theta somewhat, though it soon began to regain some strength, and by 00:00 UTC on
November 12, re-intensified to its earlier peak. Steady weakening occurred on November 13–14, as the storm
experienced strong northerly vertical shear. By 06:00 UTC on November 15, Theta had weakened to a tropical
depression about 120 mi (195 km) southwest of Madeira Island, and it degenerated to a remnant low six hours
later.[119]

Hurricane Iota
[edit]

Main article: Hurricane Iota

Category 4 hurricane (SSHWS)

 Duration November 13 – November 18

Peak intensity 155 mph (250 km/h) (1-min);

917 mbar (hPa)

A tropical wave exited the west coast of Africa on October 30, which eventually led to the formation of Tropical
Depression Thirty-One on November 13. The depression intensified into Tropical Storm Iota as it moved
westward through an area of warm waters and low wind shear. Iota rapidly intensified, becoming a hurricane on
November 15, and reaching its peak intensity

, while some counties reported damage to businesses and homes. Laura produced 16 tornadoes in the United
States, the most significant of them being an EF2 tornado in Randolph County, Arkansas. Altogether, there
were 81 storm related deaths. Of these, 47 were direct deaths associated with Laura, including 31 in Haiti, 9 in
the Dominican Republic, and 7 in the United States. There were also 34 indirect deaths, all of them in the
United States.[32]

Hurricane Marco
[edit]

Main article: Hurricane Marco (2020)

Category 1 hurricane (SSHWS)

 Duration August 21 – August 25

Peak intensity 75 mph (120 km/h) (1-min);

991 mbar (hPa)

Tropical Depression Fourteen developed on August 21 from a tropical wave near the coasts of Nicaragua and
Honduras. The system moved northwestward and intensified, becoming Tropical Storm Marco around
00:00 UTC on August 22, as it moved over the northwestern Caribbean. The storm strengthened further as it
moved through the Yucatán Channel.[66] Rainfall in western Cuba reached 5.72 in (145 mm) at Cape San
Antonio, causing flash flooding.[66][97] Marco became a hurricane on August 23 in the southeastern Gulf of
Mexico, with maximum sustained winds of 75 mph (120 km/h) and a minimum pressure of 991 mbar
(29.3 inHg). Stronger wind shear caused Marco to weaken to a tropical storm on August 24 as it was
approaching the coast of Louisiana. The storm turned westward and avoided moving ashore, degenerating into
a remnant low on August 25 without making landfall.[66] Heavy rains fell along parts of the Gulf Coast of the
United States between Florida and Mississippi, with up to 13.17 in (335 mm) of precipitation near Apalachicola,
Florida.[66] Floodwaters inundated many streets in Panama City Beach.[98] Overall, Marco left approximately
$35 million in damage throughout its path.[35]

Tropical Storm Omar

Y7CRCFYGH847I8UH I2UHG87B48CY278B784KUCH O8O3T48LVY H8VY39BV4
238492Y4H98;2424B438UEIBFCCGAF8TCGUB 8R8FGDB
F7EWGIDDJFVBMXMDYGDVBFGDVCDFGOUDVCBDEWRYFVKgfhbcj,knlfbizvjbadvb
wfvndc xvchvhdm dncx dw ndwkdvcxvuujwqkdsicvcuhdwnmndszcvivdwvmefvcl
the addition of higher categories to the scale, which would then set a maximum cutoff for Category 5, but none
have been adopted as of October 2024.

History
[edit]

In 1971, the scale was developed by civil engineer Herbert Saffir and meteorologist Robert Simpson, who at
the time was director of the U.S. National Hurricane Center (NHC).[4] In 1973, the scale was introduced to the
general public,[5] and saw widespread use after Neil Frank replaced Simpson at the helm of the NHC in 1974.[6]

The scale was created by Herbert Saffir, a structural engineer, who in 1969 was commissioned by the United
Nations to study low-cost housing in hurricane-prone areas.[7] In 1971, while conducting the study, Saffir
realized there was no simple scale for describing the likely effects of a hurricane.[8] By using subjective damage-
based scales for earthquake intensity like the Modified Mercalli intensity scale or MSK-64 intensity scale and
the objective numerical gradation method of the Richter scale as models, he proposed a simplified 1–5 grading
scale as a guide for areas that do not have hurricane building codes. The grades were based on two main
factors: objective wind gust speeds sustaining for 2–3 seconds at an elevation of 9.2 meters, and subjective
levels of structural damage.[8][9]

Proposed Hurricane Damage Scale (UN 1974)[9] show

Saffir gave the proposed scale to the NHC for their use, where Simpson changed the terminology from "grade"
to "category", organized them by sustained wind speeds of 1 minute duration, and added storm surge height
ranges, adding barometric pressure ranges later on. In 1975, the Saffir-Simpson Scale was first published
publicly.[6][8][10]
In 2009, the NHC eliminated pressure and storm surge ranges from the categories, transforming it into a pure
wind scale, called the Saffir–Simpson Hurricane Wind Scale (Experimental) [SSHWS]. [11] The updated scale
became operational on May 15, 2010.[12] The scale excludes flood ranges, storm surge estimations, rainfall, and
location, which means a Category 2 hurricane that hits a major city will likely do far more cumulative damage
than a Category 5 hurricane that hits a rural area.[13] The agency cited examples of hurricanes as reasons for
removing "scientifically inaccurate" information, including Hurricane Katrina (2005) and Hurricane Ike (2008),
which both had stronger than estimated storm surges, and Hurricane Charley (2004), which had weaker than
estimated storm surge.[14] Since being removed from the Saffir–Simpson hurricane wind scale, storm surge
prediction and modeling is handled by computer numerical models such as ADCIRC and SLOSH.

In 2012, the NHC extended the wind speed range for Category 4 by 1 mph in both directions, to 130–156 mph,
with corresponding changes in the other units (113–136 kn, 209–251 km/h), instead of 131–155 mph (114–
135 kn, 210–249 km/h). The NHC and the Central Pacific Hurricane Center assign tropical cyclone intensities
in 5 knot increments, and then convert to mph and km/h with a similar rounding for other reports. So an
intensity of 115 kn is rated Category 4, but the conversion to miles per hour (132.3 mph) would round down to
130 mph, making it appear to be a Category 3 storm. Likewise, an intensity of 135 kn (~155 mph, and thus
Category 4) is 250.02 km/h, which, according to the definition used before the change would be Category 5.[11]

To resolve these issues, the NHC had been obliged to incorrectly report storms with wind speeds of 115 kn as
135 mph, and 135 kn as 245 km/h. The change in definition allows storms of 115 kn to be correctly rounded
down to 130 mph, and storms of 135 kn to be correctly reported as 250 km/h, and still qualify as Category 4.
Since the NHC had previously rounded incorrectly to keep storms in Category 4 in each unit of measure, the
change does not affect the classification of storms from previous years.[11] The new scale became operational
on May 15, 2012.[15]

Categories
[edit]
Saffir–Simpson scale

TD TS C1 C2 C3 C4 C5

The scale separates hurricanes into five different categories based on wind. The U.S. National Hurricane
Center classifies hurricanes of Category 3 and above as major hurricanes. The Joint Typhoon Warning Center
classifies typhoons of 150 mph (240 km/h) or greater (strong Category 4 and Category 5) as super typhoons.
Most weather agencies use the definition for sustained winds recommended by the World Meteorological
Organization (WMO), which specifies measuring winds at a height of 33 ft (10.1 m) for 10 minutes, and then
taking the average. By contrast, the U.S. National Weather Service, Central Pacific Hurricane Center and
the Joint Typhoon Warning Center define sustained winds as average winds over a period of one minute,
measured at the same 33 ft (10.1 m) height,[16][17] and that is the definition used for this scale.

The five categories are described in the following subsections, in order of increasing intensity. [18] Example
hurricanes for each category are limited to those which made landfall at their maximum achieved category on
the scale.

Category 1
[edit]

See also: List of Category 1 Atlantic hurricanes and List of Category 1 Pacific hurricanes

Category 1
 Sustained win
Most recent landfall
ds

33–42 m/s
64–82 kn
119–153 km/h
74–95 mph

Osc
ar in 2024 at landfall in Cuba

Very dangerous winds will produce some damage

Category 1 storms usually cause no significant structural damage to most well-constructed permanent
structures. They can topple unanc