Snakes and Ladders - Playing

Playing

Each player starts with a token on the starting square (usually the "1" grid square in the bottom left corner, or simply, the imaginary space beside the "1" grid square) and takes turns to roll a single die to move the token by the number of squares indicated by the die roll. Tokens follow a fixed route marked on the gameboard which usually follows a boustrophedon (ox-plow) track from the bottom to the top of the playing area, passing once through every square. If, on completion of a move, a player's token lands on the lower-numbered end of a "ladder", the player moves his token up to the ladder's higher-numbered square. If he lands on the higher-numbered square of a "snake" (or chute), he must move his token down to the snake's lower-numbered square.

If a player rolls a 6, he may, after moving, immediately take another turn; otherwise play passes to the next player in turn. If a player rolls three consecutive 6s, he must return to the starting square (grid "1") and may not move again until rolling another 6. The player who is first to bring his token to the last square of the track is the winner.

A variation exists where a player must roll the exact number to reach the final square (hence winning). Depending on the particular variation, if the roll of the die is too large the token remains in place.

Read more about this topic:  Snakes And Ladders

Famous quotes containing the word playing:

    The sailor is frankness, the landsman is finesse. Life is not a game with the sailor, demanding the long head—no intricate game of chess where few moves are made in straight-forwardness and ends are attained by indirection, an oblique, tedious, barren game hardly worth that poor candle burnt out in playing it.
    Herman Melville (1819–1891)

    New York has never learnt the art of growing old by playing on all its pasts. Its present invents itself, from hour to hour, in the act of throwing away its previous accomplishments and challenging the future. A city composed of paroxysmal places in monumental reliefs.
    Michel de Certeau (1925–1986)

    I have often been asked why I am so fond of playing male parts.... As a matter of fact, it is not male parts, but male brains that I prefer.
    Sarah Bernhardt (1845–1923)