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I'd love for the people on here to post examples of things that actually came to pass when they've drawn Wheel Of Fortune as the Outcome/Card 10 in a Celtic Cross reading, especially re. Rider-Waite (only deck I've used, so far). Storyline 2: Wheel of Fortune-Inspired E-Learning Example. ELearning Developer This game show-inspired demo is a great example of how easy it is to make learning fun with Articulate Storyline 2. Similar Examples. Storyline 360: Google Primer-Inspired Example.

The Big Six Wheel is a very simple casino game that relies solely on luck and has no element of skill.

If you have ever seen Wheel of Fortune on TV, you will be familiar with the large wheel that is spun with many different segments that can be landed on when the wheel comes to a stop.

Big Six is essentially this Casino Wheel Game, which has 6 different outcomes with a total of 54 segments.

As it is purely a game of luck, the house edge is higher than many casino games and there is no real strategy that can be used to increase your chances of winning.

Big Six has a number of other names at different casinos including Wheel of Fortune, Lucky Wheel, Big Wheel, and Money Wheel.

How to play Big Six

Once you have chosen how much you wish to bet, the wheel starts to spin.

There are 54 segments that the wheel can stop on with a total of 6 differing values. The amounts that appear the most often have the best chance of coming up and therefore also have the lowest payouts.

There are normally 52 segments containing numbers or symbols, and 2 that contain a joker or logo depending on where you are playing. These 2 segments are the least likely to come in and therefore have the best pay out, the amount can vary depending on where you play the Big Six.

Once the wheel comes to a stop, the winning segment is shown – this is usually at the top of the wheel and signified by a flexible piece of rubber, which will stop in a particular segment between the spokes found to the side of each segment.

A typical wheel is shown above, the segment at the top of the wheel contains the piece of rubber, which signifies the winning segment, you can then decide how much to bet each spin and the total bet amount is multiplied by the number that you bet on.

In the above example, you can bet on a 2 which pays 2x your total bet, a 5 which pays 5x your total bet, a blue 10 or red 10 which both pay 10x your total bet, a green 20 or purple 20 which pay 20x the total bet and a white Joker or Black Joker which pay out higher amounts.

As with any casino game, Big Six has a house edge which means in the long run the casino has an advantage of winning in the end. The house edge tends to be lower at the smaller payout amounts but the house edge, in general, is one of the highest when playing Big Six compared to most other casino games.

Big Six Wheel Payouts

The versions of Big Six differ from casino to casino, but a standard payout chart is shown below which is based on the Las Vegas Rules.

All wheels tend to have 54 segments which include 2 Jokers or Logos that pay out the most, we recommend you shop around when trying to find a version of Big Six if that is your game of choice.

As you will see from the above table, the more often a number appears, the lower the pay out but also the lower the house edge.

Although the Logos pay out 40 to 1, there is just 1 logo out of the 54 segments so the house edge – the chance the casino will win compared to the player winning – is very high.

Big Six Strategy

As mentioned previously, Big Six is a game of pure luck and requires no skill at all and therefore it is hard to put together a strategy that will increase your chances of leaving a session ahead.

The best bets are those with a lower house edge – the lower payouts – so you are more likely to win and finish up by betting on these segments. As these also have the highest probability of coming in, they represent the highest chance of you winning by far.

However, you are not going to get rich by betting on these segments due to the low payouts, so some players prefer to go for the Logos/Jokers which rarely come in but pay out a lot more when they do and when your luck is in.

If you are looking to spend some time gambling with the hope of walking away ahead at the end of a session, there are much better casino games around than Big Six.

Big Six Tips

Like any casino game, you need to ensure that you are betting within your means. Therefore, before you start a session, ensure that you decide how much you can afford to lose and make sure you stick to this amount. We would recommend that you start with at least 40 bets so if you intend on betting €1 per spin, you would need a budget of €40 to start a session.

When playing Big Six, ensure you aren’t tired, depressed or under the influence of drink or drugs otherwise your judgment will be impaired making it more likely you will lose.

The key to any casino game is to have fun and enjoy the session if the enjoyment goes then stop and walk away.

Wheel Of Fortune Before And After Examples

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Academic IELTS Reading Sample 303 - Wheel of Fortune

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Last Updated: Thursday, 31 August 2017 19:16

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You should spend about 20 minutes on Questions 14- 27, which are based on Reading Passage 303 below.

Wheel of Fortune

Emma Duncan discusses the potential effects on the entertainment industry of the digital revolution

A
Since moving pictures were invented a century ago, a new way of distributing entertainment to consumers has emerged about once every generation. Each such innovation has changed the industry irreversibly; each has been accompanied by a period of fear mixed with exhilaration. The arrival of digital technology, which translates music, pictures and text into the zeros and ones of computer language, marks one of those periods.
B
This may sound familiar, because the digital revolution, and the explosion of choice that would go with it, has been heralded for some time. In 1992, John Malone, chief executive of TCI, an American cable giant, welcomed the '500-channel universe'. Digital television was about to deliver everything except pizzas to people's living rooms. When the entertainment companies tried out the technology, it worked fine - but not at a price that people were prepared to pay.
C
Those 500 channels eventually arrived but via the Internet and the PC rather than through television. The digital revolution was starting to affect the entertainment business in unexpected ways. Eventually, it will change every aspect of it, from the way cartoons are made to the way films are screened to the way people buy music. That much is clear. What nobody is sure of is how it will affect the economics of the business.
D
New technologies always contain within them both threats and opportunities. They have the potential both to make the companies in the business a great deal richer, and to sweep them away. Old companies always fear new technology. Hollywood was hostile to television, television terrified by the VCR. Go back far enough, points out Hal Varian, an economist at the University of California at Berkeley, and you find publishers complaining that 'circulating libraries' would cannibalise their sales. Yet whenever a new technology has come in, it has made more money for existing entertainment companies. The proliferation of the means of distribution results, gratifyingly, in the proliferation of dollars, pounds, pesetas and the rest to pay for it.
E
All the same, there is something in the old companies' fears. New technologies may not threaten their lives, but they usually change their role. Once television became widespread, film and radio stopped being the staple form of entertainment. Cable television has undermined the power of the broadcasters. And as power has shifted the movie studios, the radio companies and the television broadcasters have been swallowed up. These days, the grand old names of entertainment have more resonance than power. Paramount is part of Viacom, a cable company; Universal, part of Seagram, a drinks-and-entertainment company; MGM, once the roaring lion of Hollywood, has been reduced to a whisper because it is not part of one of the giants. And RCA, once the most important broadcasting company in the world, is now a recording label belonging to Bertelsmann, a large German entertainment company.
F
Part of the reason why incumbents got pushed aside was that they did not see what was coming. But they also faced a tighter regulatory environment than the present one. In America, laws preventing television broadcasters from owning programme companies were repealed earlier this decade, allowing the creation of vertically integrated businesses. Greater freedom, combined with a sense of history, prompted the smarter companies in the entertainment business to re-invent themselves. They saw what happened to those of their predecessors who were stuck with one form of distribution.
So, these days, the powers in the entertainment business are no longer movie studios, or television broadcasters, or publishers; all those businesses have become part of bigger businesses still, companies that can both create content and distribute it in a range of different ways.
G
Out of all this, seven huge entertainment companies have emerged - Time Warner, Walt Disney, Bertelsmann, Viacom, News Corp, Seagram and Sony. They cover pretty well every bit of the entertainment business except pornography. Three are American, one is Australian, one Canadian, one German and one Japanese. 'What you are seeing', says Christopher Dixon, managing director of media research at PaineWebber, a stockbroker, 'is the creation of a global oligopoly.
It happened to the oil and automotive businesses earlier this century; now it is happening to the entertainment business.' It remains to be seen whether the latest technology will weaken those great companies, or make them stronger than ever.

Questions 14-21
Reading Passage 303 has seven paragraphs A-G.
Which paragraph mentions the following (Questions 14-21)?
Write the appropriate letters (A-G) in boxes 14-21 on your answer sheet.
NB Some of the paragraphs will be used more than once.
14. the contrasting effects that new technology can have on existing business
15. the fact that a total transformation is going to take place in the future in the delivery of all forms of entertainment
16. the confused feelings that people are known to have experienced in response to technological innovation
17. the fact that some companies have learnt from the mistakes of others
18. the high cost to the consumer of new ways of distributing entertainment
19. uncertainty regarding the financial impact of wider media access
20. the fact that some companies were the victims of strict government policy
21. the fact that the digital revolution could undermine the giant entertainment companies
Questions 22-25
The writer refers to various individuals and companies in the reading passage.
Match the people or companies (A-E) with the points made in Questions 22-25 about the introduction of new technology.
Write the appropriate letter (A-E) in boxes 22-25 on your answer sheet.
22. Historically, new forms of distributing entertainment have alarmed those well-established in the business.
23. The merger of entertainment companies follows a pattern evident in other industries.
24. Major entertainment bodies that have remained independent have lost their influence.
25. News of the most recent technological development was published some years ago.
A. John Malone
B. Hal Valarian
C. MGM
D. Walt Disney
E. Christopher Dixon
Questions 26-27
Choose the appropriate letters A-D and write them in boxes 26-27 on your answer sheet.
26. How does the writer put across his views on the digital revolution?
A. by examining the forms of media that will be affected by it
B. by analysing the way entertainment companies have reacted to it
C. by giving a personal definition of technological innovation
D. by drawing comparisons with other periods of technological innovation
27. Which of the following best summarises the writer’s views in Reading Passage 303?
A. The public should cease resisting the introduction of new technology.
B. Digital technology will increase profits in the entertainment business.
C. Entertainment companies should adapt to technological innovation.
D. Technological change only benefits big entertainment companies.

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