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Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-7173213241213026575.post-76297330754155456972015-10-27T09:38:00.005-07:002015-10-27T09:38:51.807-07:00NBA Live 2016 PS4 review<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: center;">
<b>NBA Live 2016 PS4 review</b></div>
<div style="text-align: center;">
<br /></div>
NBA Live 16
is an improved game from last year's offering. But while shooting,
passing, and dribbling all feel a bit tighter this year, the changes are
too minor to push the total package beyond mediocrity. Some of the core
gameplay modes are almost unchanged, and visually, NBA Live 16 floats
in an awkward space between an outdated basketball sim and a poor
attempt at an arcade classic. The series continues to inch toward
relevance, but its deficient game modes and stunted systems fail to
propel it off the bench and into the starting lineup.<br />
<div dir="ltr">
If
you consider each element of the on-court action--from the act of
shooting to playing tight on-ball defense--it’s fair to say that NBA
Live 16 is a much more playable basketball game than its immediate
predecessor. Executing crossovers or hesitations and pulling up a quick
jump shot actually feels good, with a new shot meter giving you a much
more accurate sense of your player’s optimal release point. The previous
gap between the peak of a player’s jump and the correct spot to release
the ball has been tightened to eliminate any visual disconnect, and the
smoother dribbling means you can fake and spin without always sloppily
losing the ball or getting stonewalled by poor AI defenders.</div>
<figure data-align="center" data-embed-type="image" data-img-src="http://static2.gamespot.com/uploads/scale_super/1552/15524586/2950726-0003.jpg" data-ratio="0.5625" data-ref-id="1300-2950726" data-resize-url="" data-resized="" data-size="large" data-width="960" style="width: 960px;"><a class="fluid-height" data-ref-id="1300-2950726" href="http://static2.gamespot.com/uploads/scale_super/1552/15524586/2950726-0003.jpg" style="padding-bottom: 56.3%;"><img src="http://static5.gamespot.com/uploads/scale_super/1552/15524586/2950726-0003.jpg" /></a><figcaption>The halftime reports by Jalen Rose are helpful and aesthetically sharp. </figcaption></figure><div dir="ltr">
One-on-one,
NBA Live 16 is a responsive push and pull between offense and defense.
But with two full teams setting screens, rolling to the basket, crossing
from corner to corner, and attempting to execute double-teams, this
smooth operation capitulates quickly into a disjointed, jagged knot.
Off-ball players set strange screens in the paint when called on to hold
off immediate defenders, and limited layup animations force easy
buckets to devolve into odd low-percentage shots--leading to offensive
rebounds that send just about every player in the paint into an odd
state of shock. Maybe more importantly, making long jumpers is just too
easy. I put up 56 points in my first ever Rising Star game as a mostly
unskilled created player, and that was from using simple screens to
create just enough space to jack up a shot.</div>
<div dir="ltr">
Each
of the individual systems has been tightened, but when it’s all put
together, NBA Live 16 has very little mechanical rhythm or consistency.
This is most apparent when running the fastbreak, where you’ll often
struggle to corral your team to fill gaps and take advantage of
defensive breakdowns. There tend to be wonderful moments in good sports
sims when it almost feels like the game knows exactly what you’re trying
to do before you do it. In NBA Live 16, it can feel like the game isn’t
just a few steps behind, it’s actively working against your train of
thought. Even the commentary, which features noted ESPN analysts Jeff
Van Gundy and Mike Breen, can come off as sporadic audio clips recorded
in separate buildings.</div>
<figure data-align="right" data-embed-type="image" data-img-src="http://static4.gamespot.com/uploads/scale_super/1552/15524586/2950724-0006.jpg" data-ratio="0.5625" data-ref-id="1300-2950724" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><a class="fluid-height" data-ref-id="1300-2950724" href="http://static4.gamespot.com/uploads/scale_super/1552/15524586/2950724-0006.jpg" style="padding-bottom: 56.3%;"><img src="http://static1.gamespot.com/uploads/scale_medium/1552/15524586/2950724-0006.jpg" /></a><figcaption>Sometimes, a player decides to leave his jersey and abdomen on the bench. </figcaption></figure><div dir="ltr">
Despite
a few minor gameplay improvements, the quality and depth of game modes
remains disappointingly low. The modes start with the Rising Star
campaign, where you create a rookie player primed to become a top draft
pick. You adjust his height, weight, appearance, and position--with the
welcome addition of a specific shooting, slashing, or post play
concentration available within the five traditional roles. After that,
though, you just run through season after season of regular and
post-season basketball without any story or gameplay variation to drive
you. Rising Star is just a vehicle for you to boost stats and focus on a
single position rather than on the entire team, and with the recently
released <a data-ref-id="5000-431492" href="http://www.gamespot.com/nba-2k16/">NBA 2K16</a> putting such a heavy emphasis on story, Live’s Rising Star variation feels woefully undercooked and inadequate.</div>
<div dir="ltr">
NBA
Live 16’s Ultimate Team and Dynasty modes suffer similarly from being
largely the same as last year. Collecting players in the form of cards
in Ultimate Team booster packs still holds an undeniable charm, giving
you hope that each booster pack will include some new, top-tier player
primed to turn your entire team around. However, since it’s relatively
easy to find your shooting rhythm, I nearly doubled the score of the
championship Golden State Warriors in my first game with volatile
shooter J.R. Smith acting as my star player. I still felt compelled to
earn new cards, but the massive impact of one sharpshooter makes the
collection process feel a bit unbalanced. Dynasty, which lets you run
team operations as a general manager, is still just as bare-boned and
uninteresting as last year. Setting up a fantasy draft, proposing
trades, and signing free agents gives you something to do off the court,
but without any real standout new features, there’s little draw in
taking on the managerial role.</div>
<div dir="ltr">
Thankfully, the
addition of the online Pro-Am and Summer Circuit at least gives NBA Live
16 a whiff of freshness. Here, you take your created player and either
run through progressively more difficult co-op challenges in Summer
Circuit, or join a full five-on-five pickup game against nine other
online players in Pro-Am. It’s in this wild, fast-moving streetball
jamboree where NBA Live 16 has the ability to shine brightest. Sure, you
might run into a group of ball hogs who prefer taking deep, contested
threes rather than spreading the ball around the floor. But when my
stitched-together team of diverse created players actually came together
to form at least the semblance of a real basketball squad, I actually
found myself having fun with NBA Live 16’s unpolished systems. Plus,
this mode gives you much more reason to care about building up your NBA
talent in Rising Star.</div>
<figure data-align="center" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1552/15524586/2950727-0001.jpg" data-ratio="0.5625" data-ref-id="1300-2950727" data-resize-url="" data-resized="" data-size="large" data-width="960" style="width: 960px;"><a class="fluid-height" data-ref-id="1300-2950727" href="http://static1.gamespot.com/uploads/original/1552/15524586/2950727-0001.jpg" style="padding-bottom: 56.3%;"><img class="js-lazy-load-image" data-lazy-load="false" data-src="http://static2.gamespot.com/uploads/scale_super/1552/15524586/2950727-0001.jpg" src="http://static2.gamespot.com/uploads/scale_super/1552/15524586/2950727-0001.jpg" /></a><figcaption>Beyond choosing between being a point guard or a power forward, Rising Star lets you determine style of play. </figcaption></figure><div dir="ltr">
Even
with improved on-court control and an online Pro-Am mode that can lead
to pockets of outlandish fun, NBA Live 16 still fails to justify its
existence. Its Rising Star and Dynasty modes are too underdeveloped and
unvaried to remain interesting beyond the first few hours of play, and
the basic dribbling, passing, and shooting tend to trip over themselves
during offensive rebounds or fast breaks. NBA Live 16 is heading in the
right direction, but at this pace, the series will never be able to
challenge--let alone surpass--its only real contemporary.</div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-10119633951038479602015-10-27T09:37:00.003-07:002015-10-27T09:37:34.203-07:00Life is Strange's final episode is titled Polarized<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="js-content-entity-body" data-ajaxform="true">
<div style="text-align: center;">
<b>Life is Strange's
final episode is titled Polarized</b>, which is the most accurate way to
describe my feelings after reaching the series' conclusion. Developer
Dontnod's first episodic series tackles themes and explores emotional
spaces few games have: the difficulties of being a teenager struggling
for acceptance, the complicated push-and-pull of friendship between
young women, the delicate balance between fear and bravery when dealing
with other volatile young people. It's a story about kids--or kids on
the brink of becoming adults--becoming people they never thought they'd
be and learning things about one another that change their perspectives
on each other, and life itself. I loved becoming Max Caulfield, using
her time-rewinding powers to keep a promise no matter what the cost. But
the series' finale ultimately stumbles and falls over its own conceits,
sabotaging its most powerful moments with goofy dialogue and--at its
more egregious--a tedious stealth sequence.</div>
<div dir="ltr">
Polarized opens with Max in the dark room from the <a data-ref-id="1900-6416204" href="http://www.gamespot.com/reviews/life-is-strange-episode-four-review/1900-6416204/">previous episode</a>,
desperate to escape and make things right. Her method of escape and the
consequences stemming from this decision are predictable. In the first
half of the episode, Max learns what happens when she gets everything
she wants, or at least thinks she's getting everything. It all comes at a
price, one that the series has been hamfistedly hinting at since <a data-ref-id="1900-6416015" href="http://www.gamespot.com/reviews/life-is-strange-episode-one-review/1900-6416015/">Episode One</a>.
I don't mind the obviousness so much as the complete detachment of this
episodes' choices from the rest of the series. Nothing you've done
matters by the time you get to Polarized, with the only tweaks made by
your past decisions reflected in short bits of dialogue.</div>
<div dir="ltr">
This
episode does an excellent job showing Max the horrors her time
traveling escapades have wrought on the people around her, but some of
these more serious moments are completely undermined by silly
presentation, a critique that also extends to some of the acting. A
serious sequence at the start of the episode, meant to be horrifying no
doubt, ends up being straight-up goofy due to dialogue and the way it's
delivered. Max has to watch a certain character be killed over and over
again, and after each rewind the killer spouts the same line of
enthusiastic, comically insulting dialogue. The sequence is set up so
that you're meant to explore three or four different options and keep
rewinding before you find the right one that will save a life, but
hearing this same dialogue over and over again was laughable. It became
funny instead of serious, draining the urgency out of an otherwise tense
scene.</div>
<figure data-align="left" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2953458-lis_ep5_sc3.jpg" data-ratio="0.5625" data-ref-id="1300-2953458" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><a class="fluid-height" data-ref-id="1300-2953458" href="http://static1.gamespot.com/uploads/original/1547/15470456/2953458-lis_ep5_sc3.jpg" style="padding-bottom: 56.3%;"><img height="360" src="http://static5.gamespot.com/uploads/scale_medium/1547/15470456/2953458-lis_ep5_sc3.jpg" width="640" /></a><figcaption>Max in the dark room.</figcaption></figure><div dir="ltr">
There
are, however, moments that make you feel genuinely uncomfortable, and
it's in these that you and Max start to question her supposed altruism.
Max isn't the selfless time warrior she seems to be, and in this final
episode some of her dialogue options are downright vitriolic. She's
become hard and a little cruel, almost ruthless in her relentlessness to
keep Chloe alive and save Arcadia Bay from the impending storm.
Watching Max lash out, reflect, and then crumble is the best part of
this episode.</div>
<div dir="ltr">
There is some great psychological
spelunking going on in this episode, but it's hard to enjoy the
unsettling atmosphere when you're forced to wade through it in a
poorly-designed stealth sequence. This sequence, which is quite long,
forces you to sneak through a labyrinthine environment with a least two
flashlight-wielding characters trying to catch you at the same time.
This sequence forces you do the same thing over and over to determine
the guards position and find an exit--take a few steps, rewind, take a
few more, rewind. It's repetitive and a cheap way of shoehorning in a
puzzle using Max's time powers and it completely pulled me out of the
mood. It also doesn't help that at the start the setting is very dark,
with no clear direction on how to get through. So it's up to trial and
error and rewinding to figure out which way to go.</div>
<div dir="ltr">
The
episode also spends a hefty amount of time rehashing old events,
reminding Max of conversations and interactions from previous episodes
in the form of audio playing over her endless wandering. She retreads
familiar places and learns nothing new, although it does provide a very
chilling look inside her mind. She's worn out, scared, and utterly
broken. It's clear she feels she's failed everyone, and with the
apocalyptic tornado waiting just offshore of the sleepy Northwestern
town, she's pressured to move fast through a sequence of events that
looks and functions almost exactly like the final baffling, surrealist
episode of David Lynch's Twin Peaks.</div>
<figure data-align="right" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2953459-lis_ep5_sc6.jpg" data-ratio="0.5625" data-ref-id="1300-2953459" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><a class="fluid-height" data-ref-id="1300-2953459" href="http://static1.gamespot.com/uploads/original/1547/15470456/2953459-lis_ep5_sc6.jpg" style="padding-bottom: 56.3%;"><img height="360" src="http://static1.gamespot.com/uploads/scale_medium/1547/15470456/2953459-lis_ep5_sc6.jpg" width="640" /></a><figcaption>If I learned anything from BioShock Infinite...</figcaption></figure><div dir="ltr">
While
all of this is going on, the storm Max created with the butterfly
effect of her powers--Max says she created the storm but we never learn
exactly how her decisions affect it--closes in on the town. The wind
howls and rain drenches Max as she picks her way through the wreckage of
buildings along the ocean--and yet there is no urgency. The people she
encounters are calm. The sea level is rising and no one is even
attempting to leave the shoreline. The tornado of the century is
happening feet away and no one's hair moves. I had a hard time buying
the "everyone is going to die" thing because Polarized fails to sell its
apocalyptic stakes in any meaningful way.</div>
<div dir="ltr">
All
of this wraps up with a final choice, that--should you choose to go back
and see both--is unbalanced. One possible ending is short and somewhat
shallow, while the other rolls the most crushing scene in the series and
then sends you on a sprawling visual journey in which Max appears to
have learned something about how life works. It genuinely feels like one
ending is an afterthought. But this choice is so divorced from
everything you've done so far, the logical leaps characters make to come
to this decision are curve balls. It's a heartbreaking climax handled
clumsily.</div>
Life is Strange paints an excellent, vivid
picture of a young woman's struggle for acceptance and justice, but
trips itself up by trying to make things gamey. The series is at its
best when it's just letting you explore; in the beginning you're roaming
the world around you, picking through pieces of other's lives, and by
the end you're treading Max's subconscious. The story of Max and Chloe
is a beautiful tale, but it's marred by bizarre logical leaps and
leftover plot holes. Aggravating out-of-place fetch quests and stealth
sequences crack the somber atmosphere and very hamfistedly remind you
that you're playing a game. It's unfortunate, because I do love Life is
Strange's story. I just wish the ending wasn't so mismanaged.<br />
</div>
</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-9885025644452622015-10-27T09:35:00.003-07:002015-10-27T09:35:25.093-07:00The Legend of Zelda: Tri Force Heroes<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="js-content-entity-body" data-ajaxform="true">
The Legend of Zelda: Tri Force Heroes
is a drastic departure from series tradition, and at times, it shows
real potential, with clever design rivaling the best of the series’
past. But those moments are few and far between. The rest is just filler
in a shallow game that tries a slew of new things, but accomplishes
only a few.<br />
<div dir="ltr">
Tri Force Heroes is Nintendo’s second original Zelda title on 3DS after 2013’s stellar A Link Between World<a data-ref-id="5000-177524" href="http://www.gamespot.com/the-legend-of-zelda-a-link-between-worlds/">s</a>.
This new incarnation, however, is structured as a multiplayer title
with a loot system, gear crafting, and cooperative dungeons with short
run times.</div>
<div dir="ltr">
The story opens on Hytopia, a realm
wherein a witch has cursed Princess Styla with a brown, form-fitting
body suit. The princess feels ugly in her new garb, and the Hytopian
king puts out a call for adventurers to break the curse with a grand
ballroom dress. From there, you wade through a series of puzzles and
combat arenas in search of materials to break the curse.</div>
<div dir="ltr">
Nintendo
has told farfetched Zelda tales before, but Tri Force Heroes pushes
that sentiment even farther. It tells a story of fashion gurus and
designer dresses, complete with eccentric personalities and fashion
tips. At first, the whimsical plot was so weird, it captivated me. But
as it progressed, it deteriorated, with such poorly written characters
and such inexplicable plot points, I dreaded every cutscene’s approach.
This game’s final boss embraces the fashion angle so literally, it feels
as if Nintendo talked itself into a corner, only to justify the
grievous plot at the last second.</div>
<figure data-align="left" data-embed-type="image" data-img-src="http://static3.gamespot.com/uploads/original/536/5360430/2888352-3ds_loz-tfh_e32015_scrn_6.jpg" data-ratio="1.2115384615385" data-ref-id="1300-2888352" data-resize-url="" data-resized="" data-size="small" data-width="320" style="width: 320px;"><a class="fluid-height" data-ref-id="1300-2888352" href="http://static3.gamespot.com/uploads/original/536/5360430/2888352-3ds_loz-tfh_e32015_scrn_6.jpg" style="padding-bottom: 121.2%;"><img src="http://static5.gamespot.com/uploads/scale_small/536/5360430/2888352-3ds_loz-tfh_e32015_scrn_6.jpg" /></a><figcaption>Despite a few great bosses, most demand similar cooperative maneuvers to bring down.</figcaption></figure><div dir="ltr">
During
your travels, you’ll collect materials to fashion your own new outfits.
This loot system provides a rewarding feedback loop at first: complete
dungeons, gather materials, fashion outfits, and gain new abilities. The
Kokiri Clothes let you fire three arrows at a time. The Goron costume
grants the ability to swim in lava. Some outfits change the way you
approach dungeons entirely, making this new approach to character perks
one of the entertaining ideas present in Tri Force Heroes.</div>
<div dir="ltr">
But
earning these bonuses becomes a chore. Tri Force Heroes doesn’t present
the traditional Zelda open-world structure--instead it implements what
feels just like a series of challenges. A warp room in the castle brings
you to the Drablands, where you solve puzzles and slay monsters in
expected Zelda fashion. Yet these dungeons are repetitive. Each begins
with item acquisition, and proceeds through two more rooms before the
boss or wave-based skirmish rear their heads.</div>
<div dir="ltr">
And
these dungeons are short--I finished most in under 15 minutes. This is
an effort to facilitate the loot system that demands repeat
playthroughs, but it has a negative effect. The puzzles--except for a
few--seem too simple. You learn how to use each item. You learn their
applications. And just when it seems Nintendo might delve deeper into
the branching possibilities of the challenges at hand, the dungeon ends.</div>
<div dir="ltr">
More
often than not, there's a boss at the end of each area. My favorite is a
giant Stalfos skeleton that only crumbles after all three heroes use
their unique items to bring it down. But this is one of a small number
of clever bosses, in a game with a slew of repetitive others. The vast
majority of them ask the same question: how many heroes do you need to
stack on top of one another, and when should you do so?</div>
<div dir="ltr">
In
Tri Force Heroes, puzzles center around Totems. This gameplay conceit
allows players to carry one or both of their partners, and sometimes
throw them in the hopes of reaching distant ledges, or attacking taller
varieties of monsters. It leads to rare great moments when teams solve a
puzzle not as individuals, but as a collective council with three
essential members.</div>
<div dir="ltr">
Heroes can throw each other
across gaps, only to retrieve the one left behind with a subsequent
boomerang throw. Others require stacking to hit otherwise untouchable
switches. And I adore the fire temple, complete with all of its
disappearing platforms and hazardous machinery. It encourages teamwork
more than any other area. It’s one of those shining places where Tri
Force Heroes capitalizes on its conceptual potential, comprising puzzles
that encourage teamwork, vertical thinking, and careful motor skills.</div>
<blockquote data-align="center" data-size="large">
<div dir="ltr">
There's a taxing dichotomy between the solo and cooperative modes, and the overall experience feels fractured.</div>
</blockquote>
<div dir="ltr">
But
a day later, I replayed the same puzzles. Only this time, I tried them
in single player. And when it comes to this mode, Tri Force Heroes
stumbles. In place of fellow humans, Nintendo provides you with
doppels--heroes that, when not being used, become lifeless statues. You
can switch between them with the handheld’s touch screen, but moving
each hero to the exit means carrying the others for much of the time.</div>
<div dir="ltr">
By
choosing to play by yourself, you invite a level of micromanagement
that transforms otherwise clever dungeons into heavy slogs. The
solutions to the puzzles are the same, but some bosses, and some
dungeons, are exponentially harder on your own.</div>
<figure data-align="right" data-embed-type="image" data-img-src="http://static5.gamespot.com/uploads/original/536/5360430/2888356-3ds_loz-tfh_e32015_scrn_10.jpg" data-ratio="1.2115384615385" data-ref-id="1300-2888356" data-resize-url="" data-resized="" data-size="small" data-width="320" style="width: 320px;"><a class="fluid-height" data-ref-id="1300-2888356" href="http://static5.gamespot.com/uploads/original/536/5360430/2888356-3ds_loz-tfh_e32015_scrn_10.jpg" style="padding-bottom: 121.2%;"><img src="http://static1.gamespot.com/uploads/scale_small/536/5360430/2888356-3ds_loz-tfh_e32015_scrn_10.jpg" /></a><figcaption>Because there's no online voice chat, emotes are essential to communication.</figcaption></figure><div dir="ltr">
One
example: a certain early boss focuses on one hero at a time, leaving
its vulnerable tail open to other human players’ swords. But in
single-player, switching between doppels, throwing the lifeless shells
onto ledges for hearts, all while avoiding nearby lava pools, is an
ordeal. There’s a taxing dichotomy between the solo and cooperative
modes here, and despite the few puzzles that balance the two well, the
overall experience feels fractured.</div>
<div dir="ltr">
This rings
true when returning to puzzles as well. Once you’ve beaten a dungeon’s
boss, Nintendo offers challenges that alter your approach. One removes
your swords, arming you only with bombs. Another hangs monsters from the
ceiling, forcing your team to keep moving at a hurried pace. Another
adds balloons to each room, asking you to pop them before moving to the
next, all the while focusing on enemies, as well as the puzzle at hand.</div>
<div dir="ltr">
These
twists can make multiplayer more fun, as your group adapts to the
changes imposed on them. However, some of them are near impossible on
your own. It widens the gap between multiplayer and single player even
more.</div>
<div dir="ltr">
There are several barriers preventing Tri
Force Heroes from being great. But through it all, one of the series'
greatest traits remains strong even here: the exceptional music. Lilting
flutes, snappy strings, and tense battle drums pervade every area. The
music reminds me how compelling this franchise can be, and how great it
often is. Nintendo has deviated from the norm with the series
before--but this time, many of its changes don't work.</div>
<div dir="ltr">
Consider
this: in single player, Nintendo grants you the option to skip entire
sections of each dungeon, so long as you're fine with the prospect of
less loot. I avoided this route, but considered it often. There are
hints of a great game here, and when three players are cooperating in
frantic battles, or working through dynamic puzzles, it shows.</div>
But
like its story of fashion and surface appeal, there’s not much depth
here, and the facade fades with time. Tri Force Heroes offers us the
means to work together, but not enough reason to do so.<br />
</div>
</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-22328548355244872532015-10-27T09:34:00.001-07:002015-10-27T09:34:03.189-07:00Assassin's Creed Syndicate Assassin's Creed Syndicate<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Assassin's Creed Syndicate Assassin's Creed Syndicate</b></div>
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After completing my second ghost hunt
with Charles Dickens, I decided it was about time to shut down the last
factory forcing children into labor. As I made my way across
Westminster, zipping between rooftops with my rope launcher, a notice
popped up indicating I was approaching a bounty hunt. The objective was
simple--kill an important member of my rival gang--and I decided the
children could wait a bit longer. I was in and out of the mission in
under a minute after dropping hanging barrels on gang members, throwing
down a smoke bomb and taking out the leader with a gun to the head. I
ziplined out, stopping only once more to change my outfit to one that
held more throwing knives, before dropping by a black market stall for a
refill and dashing towards the factory. The children of London needed
me.<br />
<div dir="ltr">
This is <a href="http://www.gamespot.com/assassins-creed-syndicate/">Assassin's Creed Syndicate</a>'s
playground. One moment you're free-running through a borough towards
the next story mission, the next you're sneaking through a dilapidated
building picking off criminals as you find yourself irresistibly drawn
to the promise of experience points and in-game cash--not to mention
notoriety among the London underground. The organic way in which
missions and side projects pop up is bolstered by their placement in a
gorgeous rendition of 1868 London, complete with massive factories
spewing smoke into the sky and intricately detailed copies of every
major landmark you can think of--all climbable, of course. Overlaying
all of this is one of the best stories the Assassin's Creed franchise
has told in recent years, featuring dual protagonists that are relatable
and lovable. Occasionally during climbing it can feel like your freedom
of movement is limited, and controls will sometimes sabotage you with
some unwieldiness and counterintuitive button placement. More of the
environment has been made available for you to climb on, and the rope
launcher can attach to nearly all ledges, so these small occurrences of
flying off the rails are inconvenient at worst. But overall combat and
movement feel great, and Assassin's Creed Syndicate's story is charming,
while countless amusements will keep you lost in London for hours.</div>
<div dir="ltr">
Syndicate's story is an intimate, personal tale like that of last year's <a href="http://www.gamespot.com/assassins-creed-unity/">Assassin's Creed Unity</a>
mixed with older Assassin's Creeds' tendencies to pack in the
historical figures. The modern day elements are more toned down than
they were in previous Assassin games, so much so that they're barely
present. You spend all your time as Jacob and Evie Frye, assassin twins
who come to London in 1868. Under the leadership of Crawford Starrick,
the Templars have a stranglehold on the city, and a sinister gang called
the Blighters run things to their liking.</div>
<figure data-align="left" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954091-acs_sc_68_reviews_gangwarlambeth_1444953338.jpg" data-ratio="0.5625" data-ref-id="1300-2954091" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><a class="fluid-height" data-ref-id="1300-2954091" href="http://static1.gamespot.com/uploads/original/1547/15470456/2954091-acs_sc_68_reviews_gangwarlambeth_1444953338.jpg" style="padding-bottom: 56.3%;"><img height="360" src="http://static5.gamespot.com/uploads/scale_medium/1547/15470456/2954091-acs_sc_68_reviews_gangwarlambeth_1444953338.jpg" width="640" /></a><figcaption>Gang fights are wild, unpredictable, and tons of fun.</figcaption></figure><div dir="ltr">
The
absence of any fiddling around in a present-day timeline is a boon to
Syndicate's story, allowing laser-focus on the 1868 London plot. The
story centers around the politics and policies of Industrial Revolution
London, with Jacob and Evie fighting not only to dismantle the Templar
conspiracy but also to bring justice and refuge to the city's
downtrodden. Jacob and Evie also frequently fight each other, with
disagreements about what it means to be an Assassin forming a tense
undercurrent. Along the way, the two come into contact with a smattering
of historical characters--ranging from Alexander Graham Bell (who gives
the game's best items) to Charles Dickens and Karl Marx--making the
Fryes tangential and sometimes integral to the great successes these
individuals achieved. These interactions fit neatly into Syndicate's
overall flow, and while it does seem like these figures are packed in a
little too tight, the game gives breathing room to each individual
story.</div>
<div dir="ltr">
London feels alive. Towers breathe smoke
into the sky, stations bustle with passengers and passing trains, the
homeless burn fires in trash cans in alleys, and stray cats pause to
look at you while you lie in wait for your target. Bystander AI can be
overdramatic at times, cowering in fear indefinitely after witnessing
you murder someone in front of them, but those visceral reactions are
what make starting fights in public such a delight. You throw a punch in
a marketplace and crowds immediately vacate the area, fleeing from your
wrath. Little boys and women run and scream as you sink your blade in
someone's throat. NPCs also yell at you when you loot bodies, bid you
good-day as you walk by, and make whispered comments to companions about
your looks. And piled on top of it all is a brilliant soundtrack, a
seamless sea of tunes that capture the sadness of the poor and the
determination of the Fryes. In one instance, as you climb a spire to a
viewpoint, a soft soprano-and-string number kicks in, painting a picture
of melancholy for the past and hope for the future. Sights and sounds
combine to create an irresistible portrait of London, and make exploring
for every side quest and collectible an enjoyable experience.</div>
<figure data-align="right" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954092-acs_sc_73_reviews_maxwellroththeatre_1444953343.jpg" data-ratio="0.5625" data-ref-id="1300-2954092" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><a class="fluid-height" data-ref-id="1300-2954092" href="http://static1.gamespot.com/uploads/original/1547/15470456/2954092-acs_sc_73_reviews_maxwellroththeatre_1444953343.jpg" style="padding-bottom: 56.3%;"><img height="360" src="http://static1.gamespot.com/uploads/scale_medium/1547/15470456/2954092-acs_sc_73_reviews_maxwellroththeatre_1444953343.jpg" width="640" /></a><figcaption>This doesn't look good at all.</figcaption></figure><div dir="ltr">
Moving
and fighting in London is also a satisfying experience, at least when
controls cooperate. Combat is fluid and simple and relies mostly on the
D-pad, on which directions are mapped to attack, counter, stun and
shoot. If you're quick, you can punch in combos that knock enemies over
and trigger some final execution moves that are brutal and beautiful.
It's undeniably satisfying to chain hits and kills until you're bopping
around between enemies in a gang war, flying along a circle of
combatants and systematically bringing them to their knees in one fell
swoop.</div>
<div dir="ltr">
Free-running follows this same
simplicity; hold down R2 while running and press one button to go up and
another to go down. You can climb pretty much everything in London with
relative ease, with the city's gorgeous details offering compelling
arguments to eschew fast travel. But these controls take some time
getting used to and feel counterintuitive, especially while climbing.
Sometimes you'll kick off a wall when you meant to climb up or go up
when you try to go down; this imprecision has characterized the series
controls from the start. But in Syndicate this imprecision is
infrequent, and while the controls aren't perfect they do feel much
better and more fluid.</div>
<div dir="ltr">
Gone are the days of
snapping to cover and blending into crowds. In Syndicate, a white
"Threat Ring" appears around your assassin when enemies are near.
Markings on the ring show you where enemies are relative to your
position, which is helpful when you're crouching in an area and can't
see much. This tool makes stealth much easier and allowed me to gauge
who to take out first based on how close they were and whether they'd
noticed me. Then you can determine which tools to whip out of your belt,
be it electric bombs or throwing knives. Do I smoke bomb this group and
take out the leader under cover? Or do I just escape to a rooftop and
pick them off one by one with throwing knives? Or better, make them turn
on each other with hallucinogenic darts? The tools at your disposal and
how you combine them is entirely up to you, and Syndicate's mission
design offers ample breathing room to complete each mission in your own
way.</div>
<figure data-align="center" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954097-acs_sc_78_reviews_thedognapper_1444953346.jpg" data-ratio="0.5625" data-ref-id="1300-2954097" data-resize-url="" data-resized="" data-size="large" data-width="1280" style="width: 1280px;"><a class="fluid-height" data-ref-id="1300-2954097" href="http://static1.gamespot.com/uploads/original/1547/15470456/2954097-acs_sc_78_reviews_thedognapper_1444953346.jpg" style="padding-bottom: 56.3%;"><img class="js-lazy-load-image" data-lazy-load="false" data-src="http://static2.gamespot.com/uploads/scale_super/1547/15470456/2954097-acs_sc_78_reviews_thedognapper_1444953346.jpg" src="http://static2.gamespot.com/uploads/scale_super/1547/15470456/2954097-acs_sc_78_reviews_thedognapper_1444953346.jpg" /></a><figcaption>The only thing that matters here is that corgi in a purse.</figcaption></figure><div dir="ltr">
I
can recall only using Syndicate's fast travel points three times during
my entire playthrough, because with the rope launcher in your toolbox,
why would you take any other route through London? The setting is so
lovely, and zipping across the city like a Victorian Spider-Man makes
you truly feel like the city's protector, dropping to the streets every
so often to air assassinate someone. In addition to setting up aerial
kills, using the rope launcher instead of fast travel allows you to
organically stumble upon one of London's many sidequests and make a pit
stop for extra cash. Many times, on my way to a story mission, I would
zipline over a side mission and think, "Why the hell not, I'm here!" One
tool helps you traverse, discover, escape, and assassinate. The rope
launcher is the thing this franchise so desperately needed, and now that
it's here I don't ever want to be without it.</div>
<figure data-align="right" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954093-acs_sc_76_reviews_carthighjack_alt-proposal_1444953344.jpg" data-ratio="0.5625" data-ref-id="1300-2954093" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><a class="fluid-height" data-ref-id="1300-2954093" href="http://static1.gamespot.com/uploads/original/1547/15470456/2954093-acs_sc_76_reviews_carthighjack_alt-proposal_1444953344.jpg" style="padding-bottom: 56.3%;"><img class="js-lazy-load-image" data-lazy-load="false" data-src="http://static3.gamespot.com/uploads/scale_medium/1547/15470456/2954093-acs_sc_76_reviews_carthighjack_alt-proposal_1444953344.jpg" height="360" src="http://static3.gamespot.com/uploads/scale_medium/1547/15470456/2954093-acs_sc_76_reviews_carthighjack_alt-proposal_1444953344.jpg" width="640" /></a><figcaption>I always feel bad for the horses in these situations.</figcaption></figure><div dir="ltr">
Another
new mechanic is the ability to drive carriages. I found Syndicate's
vehicles relatively easy to handle. You can also do any number of things
with these carriages, including hijacking them for your own purposes
and hiding bodies in them. One string of side missions involved
collecting wanted criminals for a policeman; I would knock them out,
steal a carriage from an unwitting bystander, put the body in the car,
and then drive away. In some instances the rival gang has carts on the
road as well, which can devolve into some hilariously fun Grand Theft
Auto-style chases. You can ram carriages as they ride up next to yours
or climb up onto your own carriage’s roof to engage in fisticuffs with
enemies. Hijacking moving carts is thrilling, and destruction is
encouraged. There's an experience perk you can earn for destroying
street lamps and other public property, so don't be shy about running
people over.</div>
<div dir="ltr">
Combat, grand theft carriage, and
bounties all play into the game's main story, and you'll be tasked with
doing all of these things over the course of Jacob and Evie's
adventures. While you can switch between the twins on the fly when
playing side missions, you'll be locked into playing as a certain twin
for specific story tasks. Each chapter has dedicated objectives for both
Jacob and Evie. Jacob's tasks cause more mayhem and utilize his talent
for close-quarters combat as he seeks to bring justice to London's
underdogs, often resulting in explosions and other destruction. Evie's
missions mostly require sneaking around without being detected. Her
objectives feel closer to the traditional Assassin's Creed story, and
you'll spend time with her doing the order proud while Jacob makes a
mess of everything and invests in creating his own gang, the Rooks.</div>
<figure data-align="right" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954095-acs_sc_77_reviews_kukri_1444953346.jpg" data-ratio="0.5625" data-ref-id="1300-2954095" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><a class="fluid-height" data-ref-id="1300-2954095" href="http://static1.gamespot.com/uploads/original/1547/15470456/2954095-acs_sc_77_reviews_kukri_1444953346.jpg" style="padding-bottom: 56.3%;"><img class="js-lazy-load-image" data-lazy-load="false" data-src="http://static4.gamespot.com/uploads/scale_medium/1547/15470456/2954095-acs_sc_77_reviews_kukri_1444953346.jpg" height="360" src="http://static4.gamespot.com/uploads/scale_medium/1547/15470456/2954095-acs_sc_77_reviews_kukri_1444953346.jpg" width="640" /></a><figcaption>"Yes, he's like this all the time."</figcaption></figure><div dir="ltr">
In
addition to differing personalities--with Evie constantly reprimanding
Jacob while he rather humorously bumbles around achieving his squad
goals--the twins have different unique skills that tie into their
interpretation of what it means to be an assassin. Evie's special skills
are stealth-based, with one incredibly useful ability allowing her to
disappear completely while she's standing still in sneak mode. She can
also hold twice as many throwing knives as Jacob and her stealth stats
far exceed her brother's. She'll be the one you take with you on bounty
hunting and liberation missions. Jacob is more suited for gang wars, a
brawler who takes less damage and, with all skills unlocked, can bring
enemies to near-death states quicker. Their differences are noticeable
in gameplay, and rather than have one character you can customize either
way, it's a brilliant touch to have two characters ready and available
for different kinds of missions at any given time.</div>
<div dir="ltr">
I
cannot stress enough how deeply likeable and relatable Jacob and Evie
can be. Evie is serious but sweet, tough in battle but willing to pick
up the scattered papers of a stranger she bumps into on the street. She
acts more like an older sister than a twin, bossing her brother around
and openly deriding his more destructive decisions. Jacob is goofy,
flippant, cheeky, and is more concerned about his gang and toys while
his sister fulfills her oath. He makes fun of Evie's belief in ghosts
and her willingness to help everyone they meet, but under all that snark
it's clear he loves his sister. Their banter is sweet and at times
funny, and while they are two separate entities when it comes to combat,
they truly feel like two parts of the same whole. Their story is a
powerful one, about duty and family, and the ease with which they
communicate and the believability of their relationship showcases the
draw of Syndicate's narrative. Add to this a supporting cast filled with
diverse, equally believable characters, and Syndicate feels a little
bit like being at a party with all of your friends.</div>
<figure data-align="left" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954096-acs_sc_69_reviews_eviefight_1444953340.jpg" data-ratio="0.5625" data-ref-id="1300-2954096" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><a class="fluid-height" data-ref-id="1300-2954096" href="http://static1.gamespot.com/uploads/original/1547/15470456/2954096-acs_sc_69_reviews_eviefight_1444953340.jpg" style="padding-bottom: 56.3%;"><img class="js-lazy-load-image" data-lazy-load="false" data-src="http://static5.gamespot.com/uploads/scale_medium/1547/15470456/2954096-acs_sc_69_reviews_eviefight_1444953340.jpg" height="360" src="http://static5.gamespot.com/uploads/scale_medium/1547/15470456/2954096-acs_sc_69_reviews_eviefight_1444953340.jpg" width="640" /></a><figcaption>The first rule of fight club is Evie Frye always wins fight club.</figcaption></figure><div dir="ltr">
In
addition to leveling up Jacob and Evie, you can level up their
green-clad gang, the Rooks. I became obsessed with tricking out my gang,
because having strong fighters on the streets mean you'll always have
backup in a fight. Using in-game currency, you can unlock perks for your
gang, such as sturdier carriages and cheap access to hallucinogenic
darts. You can even pay off policeman to turn a blind eye to some of
your illegal activities and assemble an army of children to bring you
crafting items on the streets. Micromanaging your gang is worthwhile
because it completely changes your experience in London. Having this
extra layer to deal with keeps you engaged in activities outside the
main story and is another fun way to leave your mark on the world.</div>
<div dir="ltr">
Syndicate's
story is a riveting tale of compassion and greed, but the mechanics of
its climax don't carry enough urgency and drama. A final boss fight
usually tests the skills you've learned throughout the game, but
Syndicate's is a memorable for the wrong reasons. It's an anticlimactic
scramble through moving environmental obstacles to reach the boss and
trigger a quick time event. This sequence of events happens several
times in order for you to beat the encounter. It's a frustrating setup
that tosses all narrative tension out the window.</div>
But a
disappointing final fight and some control hitches can't diminish the
charms of Assassin's Creed Syndicate. The game is a triumphant return to
form for the franchise, and presents a beautifully structured tale with
heart and soul to spare. Ziplining through London is thrilling, and the
game allows you to organically discover missions and leaves you
open-ended solutions lets you to create a meaningful, personal
experience within its world. Coupled with strong, loveable leads and a
seemingly endless procession of ways to leave your (fictional) mark on
London's history, Assassin's Creed Syndicate is a shining example of
gameplay and storytelling.<br />
</div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-2402638217470450012015-10-24T14:41:00.002-07:002015-10-24T14:41:18.913-07:00 Santa bought me a PlayStation. But it's still not art <div dir="ltr" style="text-align: left;" trbidi="on">
Video games are great fun but why try to categorise them as art or non-art? It's like asking if Jane Austen qualifies as sport
<br />
<figure class="media-primary media-content() " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
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<img alt="Lara Croft: Tomb Raider" class="maxed responsive-img" height="384" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/7/1389096365580/Lara-Croft-Tomb-Raider-009.jpg?w=300&q=85&auto=format&sharp=10&s=75f0f352551b231627dbd25a991634a2" width="640" />
</div>
<figcaption class="caption caption--main caption--img" itemprop="description">
'Better a good game than a bad work of art' … Lara Croft: Tomb Raider Photograph: PR company handout
</figcaption>
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<a class="tone-colour" data-link-name="auto tag link" href="http://www.theguardian.com/profile/jonathanjones" itemprop="sameAs" rel="author"><span itemprop="name">Jonathan Jones</span></a></span></div>
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<time class="content__dateline-wpd js-wpd content__dateline-wpd--modified tone-colour" data-timestamp="1389098740000" datetime="2014-01-07T12:45:40+0000" itemprop="datePublished">
Tuesday 7 January 2014 <span class="content__dateline-time">12.45 GMT</span>
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<time class="content__dateline-lm js-lm u-h" data-timestamp="1423133081000" datetime="2015-02-05T10:44:41+0000" itemprop="dateModified">
Last modified on Thursday 5 February 2015 <span class="content__dateline-time">10.44 GMT</span>
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I've occasionally been asked for my comments on video games. Are they art? My <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/artanddesign/jonathanjonesblog/2012/nov/30/moma-video-games-art" title="">quick answer, when asked, has always been a fairly curt "No".</a><br />
And then guess what – Santa brought a PlayStation. Plus a variety of games, <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://en.wikipedia.org/wiki/Tomb_Raider" title="">old</a> and <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.batmanarkhamorigins.com/" title="">new</a>. So am I all turned around on the joys of virtual play?<br />
I certainly know (slightly) more. I am no expert (honestly, Lara
Croft, I thought you could jump off that cliff without a scratch). But
do I still suspect these computer game thingumajigs are the devil's mind
candy? Well, no. I think they're a fantastic pastime.<br />
The great defence of video games is that they are not the internet – no offence intended – with its <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://memebase.cheezburger.com/totallylookslike" title="">ceaseless assaults on attention span</a>.
While many aspects of digital culture minimise concentration (hey you!
You know who you are. Please read to the end of this short article
before posting a comment …), games demand absolute attention over long
periods of time. They create fictional worlds of great conviction and
intensity. Above all, in an age when <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.freestuff.co.uk/" title="">free online stuff is the norm</a>, games have expensive production values and no one seems to resent paying money to reward those.<br />
So in many ways, the world of computer games is an alternative model
of digital life – a more creative, even contemplative, style of
interaction. Until you post your scores online and blog about which game
is better and the whole noise of random comment starts again.<br />
Which brings me back to that old chestnut … can video games be art?
And the answer is still No, or at least, Not Likely. It seems a bizarre
and irrelevant question to ask. Like, if I was reading <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.janeausten.co.uk/" title="">Jane Austen</a> and you said, "But is it sport?" No, it's not sport, it's a novel. Why would it need to be anything else?<br />
Electronic games offer a rich and spectacular entertainment, but why
do they need to be anything more than fun? Why does everything have to
be art?<br />
Very few things count as Art. I would argue that very little art is
actually art – because most of it fails, and failed art is not art. We
just <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.independent.co.uk/arts-entertainment/art/antony-gormley-knighted-in-new-year-honours-list-2014-9031424.html" title="">politely pretend that it is</a>.<br />
Better to create a good game than a bad work of art. <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/games">Games</a> give us pleasure and freedom. Art also does that, in a different way. But it is rare. I enjoy games. I hate bad art.<br />
</div>
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<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-11520945578243235542015-10-24T14:14:00.005-07:002015-10-24T14:14:31.812-07:00 10 indie games to look out for in 2014 <div dir="ltr" style="text-align: left;" trbidi="on">
Sword fighting, retro hacking, rioting… if you're looking for something other than military shooters and fantasy RPG, start here
<br />
<figure class="media-primary media-content() " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
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<img alt="Riot game" class="maxed responsive-img" height="384" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/7/1389089058829/riot_main.png?w=300&q=85&auto=format&sharp=10&s=97877788e0833c7a8d459382ce9148b4" width="640" />
</div>
<figcaption class="caption caption--main caption--img" itemprop="description">
Civil unrest simulator, Riot, seeks to explore the dynamics of public disorder
PR
</figcaption>
</figure>
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<a class="tone-colour" data-link-name="auto tag link" href="http://www.theguardian.com/profile/cara-ellison" itemprop="sameAs" rel="author"><span itemprop="name">Cara Ellison</span></a></span></div>
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<time class="content__dateline-wpd js-wpd content__dateline-wpd--modified tone-colour" data-timestamp="1389160800000" datetime="2014-01-08T06:00:00+0000" itemprop="datePublished">
Wednesday 8 January 2014 <span class="content__dateline-time">06.00 GMT</span>
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Welcome! Come through to the parlour of 2014, sir, madam, and taste
of the finest delicacies and morsels this year's small developers have
to offer. There is much in the way of cyberpunk, horror, and sparking
neon, and would you care for a canape of David Lynch with a little
Burroughs perhaps? Ah, maybe you are into feeling nihilistically bummed
out? Or, you'd rather have this hors d'oeuvres containing a whole crowd
rioting?… I see. <br />
There were so many games I didn't manage to fit into this list, so
don't feel bad if I didn't include your favourite: 2014 is going to be
knuckle-crackingly pleasurable for small budget developers; we'll see
less known developers break through and known developers do their best
work. And all for only a tiny slice of the cash you'd pay for a big
budget shootfest. What a time to game in, my friends.<br />
Well. Let's start with the world's most thrilling sword fighting simulator shall we? No, it's not a rude joke, I promise.<br />
<h2>
<strong><a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://messhof.com/">Nidhogg (Messhof, PC)</a></strong></h2>
<figure class="element element-video" data-canonical-url="http://www.youtube.com/watch?v=KYgP0IJoy_M">
<div class="embed-video-wrapper u-responsive-ratio u-responsive-ratio--hd">
</div>
</figure>
At laaaaaaast! In fluid movements of skill and half-breath decisions,
you swipe your épée low-mid-high at your opponent across clouds, mines,
castles and wilds. This long-awaited local multiplayer indie game is an
intricate, flowing game of fencing, in which you kick as well as slash
opponents through long grass and hallways. It's out on 13 January with a
Daedalus soundtrack.<br />
<h2>
<strong><a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.routinegame.com/">Routine (Lunar Software, PC)</a></strong></h2>
<figure class="element element-video" data-canonical-url="http://www.youtube.com/watch?v=iAcAd1fUiy8">
<div class="embed-video-wrapper u-responsive-ratio u-responsive-ratio--hd">
</div>
</figure>
A slowburn cyberpunk horror game where you must find what caused the
disappearance of everyone on an abandoned moon base. First-person
exploration, permadeath, deadzone aiming, no HUD: it's all full-eyed
horror. The game will also be available on VR device Oculus Rift at
launch, adding an extra sense of horrible dread. Atmospheric.
Futuristic. Dank. Full of tension. And it's the prettiest suitor at the
prom. GIVE IT TO ME.<br />
<h2>
<strong><a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://tangiersgame.com/">Tangiers (Andalusian, PC/Mac)</a></strong></h2>
<figure class="element element-video" data-canonical-url="http://www.youtube.com/watch?v=IANpN2iykPE">
<div class="embed-video-wrapper u-responsive-ratio u-responsive-ratio--hd">
</div>
</figure>
David Lynchian stealth game Tangiers is described by its creators as,
"a love letter to the avant-garde of the 20th century… set in a world
built from the broken prose of Burroughs and the social dystopia brought
about by Ballard's architecture." Inspired by classic PC game Thief, it
applies Burroughs' 'cut-up' technique to constantly rearrange the
environment based on player decisions. I love this game because it seems
to emulate old ideas and create new ones, integrating some of the most
interesting concepts of literature and art. Strange and dark, it comes
to <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/pc">PC</a>, Mac and Linux this year.<br />
<h2>
<strong><a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://the-witness.net/news/">The Witness (Jonathan Blow, iOS, PC, PS4)</a></strong></h2>
<figure class="element element-video" data-canonical-url="http://www.youtube.com/watch?v=i7h7AleSCF4">
<div class="embed-video-wrapper u-responsive-ratio u-responsive-ratio--hd">
</div>
</figure>
Whatever you think of philosophising Braid-developing
leaf-on-the-wind Jonathan Blow, his next game looks set to reinvent my
childhood favourite, Myst, by exploring something Cyan Inc's classic
title only dabbled in: the realm of three dimensions. An atmospheric
exploration puzzle game on a remote island is promised. I bet it will be
good, and everyone will be upset because it will be good.</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-32501717844057769292015-10-24T14:14:00.002-07:002015-10-24T14:14:11.881-07:00 Video games and art: why does the media get it so wrong? <div dir="ltr" style="text-align: left;" trbidi="on">
Another critic has taken another sideways glance – but the medium is strong enough to resist these withering ovations<br />
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Journey – is it fun? Or art? Or both?
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Here is a good way to tell if a critic is having a moment of madness:
they will attempt to define art. The greatest philosophers in history
have floundered on the question, many simply avoided it altogether
preferring to grapple with more straightforward questions – like the
nature of logic, or the existence of God. Art is ethereal, boundless,
its meaning as transient as the seasons. When you think you have grasped
it, it slips through your fingers.<br />
And yet here we are again (again!), with a respected critic claiming
to know what art is or can ever be, and suggesting that video games
cannot be included. That critic is the Guardian's own Jonathan Jones,
who has <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/artanddesign/jonathanjonesblog/2012/nov/30/moma-video-games-art">been here before</a>,
decrying Moma for including a selection of computer games in its design
section. Games are not art because there is no individual ownership, he
insisted at the time, a contention which appeared to strike out a whole
pantheon of collaborative projects from art history.<br />
Now his affectionately expressed objection - prompted by the gift of a
PlayStation 3 and a couple of mainstream releases – is that <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/artanddesign/jonathanjonesblog/2014/jan/07/playstation-video-games-art">games aren't art and that we shouldn't care</a>.
"Electronic games offer a rich and spectacular entertainment," he
declares, correctly, "but why do they need to be anything more than fun?
Why does everything have to be art?"<br />
Jones is an excellent writer, but as he admits, he knows very little
about games – and doesn't really want to. When he last strayed on to
this subject matter, I penned <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/technology/gamesblog/2012/dec/06/video-games-as-art">a counter-piece</a>,
in which I showed how generations of art critics have reacted against
emerging artistic forms by immediately dismissing their worth. The shock
of the new, and all that. But I ended with something along similar
lines to Jones' argument:<br />
"Are games art or aren't they? Nobody need answer. <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/games">Games</a> are beautiful and important, we can leave it there and know that we are right."<br />
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There
is a key difference here though. For me, games transcend the question
because they are so wonderfully complex: they are emergent and
system-led, but also narrative and directed; they amalgamate
electronics, audio and visuals, but also often rely on text; they need
user input, and yet are authorial. But for Jones, they are mere toys,
they are playthings. "Why do they need to be anything more than fun?" he
asks, and though I respect my colleague, I can't help but see in this a
certain amount of condescension. It is the critic's equivalent of
ruffling a child's hair and sending them on their way. Why do they need
to be more than fun?<br />
So here's another question: why do films need to be more than just fun? Why does art?<br />
Countering Jones' argument is a basic truth: games are an expressive
medium. They are a form of communication. Naturally, Jones won't see
that so much in the mainstream action adventures that Santa brought him;
just as a movie reviewer won't see much art or meaning in a Michael Bay
flick. But deeper communication is clear in the more thoughtful games
that he may not have seen. In <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://thatgamecompany.com/games/journey/">Journey</a>, in <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.richardhofmeier.com/cartlife/">Cart Life</a>, in <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://dukope.com/">Papers Please</a>, in <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://simogo.com/games/device6/">Device 6</a>, in <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.stanleyparable.com/">The Stanley Parable</a> – games that have more to say than blam, blam blam.<br />
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<figcaption class="caption caption--img caption caption--img" itemprop="description">
That Dragon, Cancer
</figcaption>
</figure>
Why can't games just be fun? Because intelligent, thoughtful
designers such as Navid Khonsari want to make games about serious issues
<a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/technology/gamesblog/2014/jan/08/www.newyorker.com/online/blogs/elements/2013/12/a-truly-revolutionary-video-game.html">like the 1979 Iranian revolution</a>. Why can't games just be fun? Because Ryan Green is making <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://thatdragoncancer.com/">That Dragon, Cancer</a>,
a game about how he and his wife are coping with the terminal illness
of their youngest son. Green has chosen games as his medium of
expression, his way of coping, because he is a game designer – it is how
he thinks, and partly how he processes the world and what is happening
to his family. He also sees in games an accessible way of telling people
about cancer, and about hope and faith. Shall we just tell him that's
not right? Perhaps you'd like to do that. I certainly don't.<br />
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Why aren't games just fun? Because games speak to people, especially young people, in ways that films and books and TV don't.<br />
Games speak to people.<br />
The greatest artists, you see, want to communicate in the most
popular media of the time, they want to be heard. That's why Shakespeare
wrote for the lice-ridden but packed theatres of London, that's why
Bertolt Brecht collaborated with Fritz Lang to bring his theories to
Hollywood, that's why Dickens and Dumas had their novels serialised in
magazines. Why aren't games just fun? Because video games are now a
language and language is a tool of expression and change. A bit like
art, yes?<br />
Here is something I feel more and more these days. And this is not so
much to do with Jones, a thoughtful and engaging critic – but it is in
the sphere of his article. How tired I am, how utterly exhausted I have
become with a certain mainstream standpoint on games. That whole nudge
and grin approach you often see when games come up on television news
programmes or magazine shows, or in the culture section of newspapers;
the shrugged shoulders, the grimaces of affable incomprehension. I think
it's time this ended because it is really not OK to dismiss what you
don't understand. Yet somehow it still happens. It happens because new
is shocking and games are out there, everywhere, and they make no sense
to some people, and they are closing in.<br />
Defining art is madness, and dismissing a vast, vibrant and creative
medium is folly. Here is a thought for all those who think of games in
this way. Just a thought. Imagine the future – the future as represented
by games, the $60bn a year medium, the most pervasive communication
platform of the 21st century – imagine this future as a storm cloud
above you. Well, the cloud has burst and your objections are being
drowned out amid the tumult. Soon you will realise that you are Lear on
the moors railing against the world, and the fool at your side is the
only one who nods in agreement.</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-46511523644544574742015-10-24T14:13:00.005-07:002015-10-24T14:13:51.987-07:00 EA hit with Battlefield 4 lawsuit – but does it have merit? <div dir="ltr" style="text-align: left;" trbidi="on">
US law firm claims publisher mislead investors in runup to release of troubled shooter Battlefield 4<br />
<figure class="media-primary media-content() " data-component="image" data-media-id="gu-fc-06f989c1-3a57-4188-8582-b42bab904377" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
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<img alt="Battlefield 4" class="maxed responsive-img" height="384" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2013/12/12/1386853232925/Battlefield-4-008.jpg?w=300&q=85&auto=format&sharp=10&s=1263848c0beeb741dafc1bc5a5e44e2f" width="640" />
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<figcaption class="caption caption--main caption--img" itemprop="description">
Battlefield 4 – the shooter has been plagued by glitches and server issues since its release
</figcaption>
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Electronic Arts is preparing for court once again. On Tuesday, law
firm Robbins, Geller, Rudman and Dowd filed a class action lawsuit
against the publisher on behalf of investors who bought stock in the
company between 24 July and 3 December.<br />
<a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.rgrdlaw.com/cases-electronicartsinc.html">The suit</a>
alleges that EA violated the Securities Exchange Act of 1934 by
allegedly providing "materially false and misleading statements" about
military shooter, Battlefield 4. Before the release of the game,
Electronic Arts issued strong fiscal guidance to investors, based on the
"purported" strength of the latest Battlefield title. "The price of
Electronic Arts’ stock steadily climbed on these statements," reads the
law firm's statement, "reaching a Class Period high of $28.13 per share
by August 23, 2013 and allowing certain of Electronic Arts’ senior
executives to sell their Electronic Arts stock at artificially inflated
prices."<br />
However, after the launch of the game on 29 October – but most
obviously following the arrival of the PlayStation 4 version on 15
November – there have been numerous problems with the software,
especially its online multiplayer component. Hundreds of players hit
game forums and news sites complaining that they were unable to connect
or were being continually booted from servers. Earlier this month
developer EA DICE <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.gamespot.com/articles/ea-on-battlefield-4-issues-we-will-not-stop-until-this-is-right/1100-6416546/">announced</a> that it would put all other development projects on hold until the issues with Battlefield 4 had been resolved.<br />
The lawsuit goes on to point out that after EA's announcement stock
value fell, closing at $21.01 on 5 December, "sending the share price
down more than 28% from its Class Period high".<br />
The allegation, then, is that Electronic Arts executives raised expectations about <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/battlefield">Battlefield</a> 4 in October knowing that the game was "riddled with bugs and multiple other problems".<br />
The lawsuit alleges: "With an inflated share value, senior execs were
then able to offload shares, selling more than $13.2m of stock at
fraud-inflated prices."<br />
<strong>"Meritless action"</strong><br />
In <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.polygon.com/2013/12/18/5224848/ea-lawsuit-sec-violations-battlefield-4">a statement issued to US games site Polygon</a>,
Electronic Arts has said: "We believe these claims are meritless. We
intend to aggressively defend ourselves, and we're confident the court
will dismiss the complaint in due course."<br />
So is this a meritless case? "Robbins, Geller, Rudman and Dowd
handled the Enron class action," says Alex Tutty from UK law firm
Sheridans. "They are a securities law firm, this is what they do. The
firm obviously believes there is a case to answer, and in order to take
it forward they need to find a plaintiff – someone who has suffered
financial harm in this period due to purchasing shares on the basis of
the statements made.<br />
"This is a problematic case, and it doesn't look good for EA, simply
from a PR point of view. Looking at the fact as presented by Robbins,
Geller, Rudman and Dowd, there does seem to be a case to answer.
However, we've only seen one side of the argument. Companies do give
this sort of guidance, and it is important to be accurate, but it is
just guidance based on what they know at the time. You'd have to prove
that they knowingly gave false information, and it would be difficult to
know about all the bugs that would crop up on the <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/playstation-4">PlayStation 4</a>
version. EA can probably produce a lot of evidence to suggest they
didn't perceive the extent of the problem, or didn't have sight of it
until after launch."<br />
Robbins, Geller, Rudman and Dowd now has until February to find a
lead plaintiff – if it succeeds, court beckons. In the background,
Battlefield 4 has not performed as well as its predecessor at retail – <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.mcvuk.com/news/read/rough-waters-the-next-generation-transition/0123896">according to industry news site, MCV</a>,
UK sales are down 69% compared to Battlefield 3. However, several
Triple A franchises, including Assassin's Creed and Battlefield's rival
Call of Duty have found the transition from current consoles to the
next-gen machines difficult, with sales down across the board.<br />
Whatever the case, this lawsuit has the potential to set an
interesting precedent in terms of publisher culpability for problematic
launch software. Several major titles have similarly suffered from bugs,
glitches and server failures this year, including Diablo III and GTA
Online, the multiplayer component of Grand Theft Auto V.<br />
This is not the first potentially expensive legal action EA has had
to contend with. Earlier this year, the publisher settled on a lawsuit
filed against Zynga for copyright infringement concerning the latter's
game, The Ville. And in 2012, EA also <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.reuters.com/article/2012/05/17/us-activision-ea-settlement-idUSBRE84F1K220120517">settled on a complicated lawsuit with Activision</a>
over the departure of game developers Jason West and Vincent Zampella
from the Activision-owned Infinity Ward to the EA-published Respawn
Studios.</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-26600348661168991982015-10-24T14:13:00.002-07:002015-10-24T14:13:29.419-07:00 Would DayZ benefit from a touch of humanity? <div dir="ltr" style="text-align: left;" trbidi="on">
n violent online worlds it makes sense for players to shoot first and think later. But perhaps that is not the only way
<br />
<figure class="media-primary media-content() " data-component="image" data-media-id="gu-fc-b74325bd-f82c-4007-abdb-7d7ac61694a2" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
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<img alt="DayZ" class="maxed responsive-img" height="384" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/10/1389353513363/f926ec1e-3353-486b-8622-ba79c35b826e-bestSizeAvailable.jpeg?w=300&q=85&auto=format&sharp=10&s=cb40093fc9b29c8632c89ac6fa82c7aa" width="640" />
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<figcaption class="caption caption--main caption--img" itemprop="description">
In DayZ every location like this is a potential shoot-out. One day,
could it be just as much about friendship too? Photograph: /PR
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The town is just out there in the near distance, a cluster of houses
amid acres of flat scrubland. I can't see any movement, there's no sound
except birdsong, but the buildings are a two minute run away. If I
break cover and another player is nearby, I know they will shoot me.
They will shoot me and loot my body. That is the reality of DayZ.<br />
Still only available as an early alpha build on Steam, but already
immensely popular, Dean Hall's bleak, utterly unsentimental zombie
survival game is unbearably tense and atmospheric. Players are pitched
together into a stark landscape, and must survive for as long as
possible, ransacking buildings for guns and food and avoiding the
undead. But just as in all the best zombie fiction, it's not the rotting
monsters you often have to worry about, it's the other survivors. Each
server houses up to 40 players, all desperately scavenging for the same
meagre supplies. And if you kill another participant, you can take their
stuff. There is a clear benefit to adopting a "shoot first" policy.<br />
We see the same thing now in GTA Online, the vast multiplayer
spin-off from Grand Theft Auto V. Players hit Los Santos, engaging in
criminal missions and tasks, but when they're off duty they just cruise
the streets in stolen cars, looking for trouble. And trouble often means
being anti-social – chasing down and shooting other players, or camping
out near key hotspots like custom garages and ammo stores blasting
anyone who walks in. Just for kicks. Rockstar sometimes punishes such
players, introducing a "bad sport" scheme to highlight them to others.
It's gaming's equivalent of an ASBO – and we all know how effective
those have been.<br />
<strong>Spawn to kill</strong><br />
There are obvious reasons why this happens. Gamers have been
conditioned by a generation of successful online shooters like Call of
Duty and Quake to view other participants as targets. In Call of Duty,
there is no other motivation beyond killing, that's what you're there
for. And from the very beginning of video games we have the intrinsic
thrill of the shoot-kill feedback loop; it is the most clear, instant
and satisfying interactive sequence this medium has ever produced.
Shooting doesn't require realistic visuals or complex game systems – in
the great arcade shooters of the late-seventies, you had left, right and
fire – those were your interactions with the game world. Even the word
'fire button' has aggressive connotations. That's what it always was –
an aggressive act committed on the game world.<br />
<a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/games">Games</a> are enormously complex now – and yet we're still being channeled down this zero-sum interaction channel: shoot or die.<br />
If you consider this at a systemic level, shooting always makes sense
in a moment of indecision. It's like the Prisoner's Dilemma, the famous
behavioural experiment that shows altruism, trust and co-operation are
often unworkable factors when you don't know what the other participant
is thinking. In DayZ, you always have more to gain from shooting a
stranger: not only are you safe, you also have a resource to plunder.
Theoretically, a new player could be a good asset to your squad, but how
do you know? In the split second you often have to decide these things,
the diplomacy of the bullet makes more sense.<br />
In the past, game designers have often sought to counter the problem
by brute-forcing co-operative behaviour. "World of Warcraft kind of
solved this issue by making missions where you <em>had</em> to form a group in order to complete them," says game developer Byron Atkinson-Jones, whose shooter, <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.blastem-game.com/">Blast Em</a>
is heading to Steam soon . "In this situation, the obstacles – as in
things to kill – were just too much for one person to attempt alone. The
reward for helping a fellow player then was completing the mission and
leveling up."<br />
It looks like this will be the system employed in Bungie's
forthcoming massively multiplayer space opera Destiny. Although there
will be assigned player v player combat zones, if two sets of
participants bump into each other during campaign missions, they'll only
be able to work together to complete the task. Battlefield developer
DICE has added whole layers of co-operative intricacy into its team
modes, introducing squads and commanders to initiate group tactics. But
once again, we're only really talking about co-operation on a
mechanistic level.<br />
There can of course, be genuine humanity in that. "Team games like
Dota 2 and Battlefield semi-force you to cooperate with strangers by
putting you on the same team," says game designer Michael Brough. "It is
kind of a blunt instrument, but it's still up to the players whether to
actually cooperate. Quite often in Dota, if someone dies early on it
gives the opposing team an advantage, then people start blaming each
other and arguing, teamwork falls apart and you start falling even
further behind...<br />
"sometimes the team breaks down completely, someone gives up and
disconnects from the game or refuses to play, but other times the team
gets over their disagreement and starts pulling together and can even go
on to win. When this happens it's quite beautiful."<br />
<strong>Social circles</strong><br />
Meanwhile, in most online games, especially MMORPGs, all the really
meaty social interaction is effectively outsourced to the players
themselves through the guild system. Friends have to get together in
meat space, agree to form a team, use microphones and often third-party
chat software to communicate, and then enter the game world as a unit.
In this way, all the emotional drama is effectively happening between
the members of the social group – the game just happens to be where it's
taking place. In many ways, online role-playing games are venues of
collaborative play not instigators. Certainly, players will meet in the
world and form friendships, but the impetus and the heft of the social
interaction happens on the periphery of the game experience.<br />
Is there a way for game designers to encourage and reward more
advanced social relationships between strangers? Is there a way to
balance out the allure of deadly violence? "Generally if you want to
encourage some kind of activity in a game, it's not a terrible idea to
just try explicitly rewarding it in the most obvious way possible," says
Brough. "Like, maybe that won't work and you'll need something more
subtle, but it's the first thing to try. So if you want to encourage
some kind of cooperative activity, make numbers go up when people do it.
When you trade items they get bigger, when you craft items they get a
bonus for the number of people involved. Basically, positive-sum
interactions rather than zero- or negative-sum."<br />
<h2>
Read more:</h2>
<blockquote>
<a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/technology/gamesblog/2012/aug/07/dayz-gets-standalone-release"><span class="bullet">•</span> DayZ to get standalone release </a><br />
<a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/technology/gamesblog/2013/oct/03/red-cross-players-accountable-war-crimes"><span class="bullet">•</span> Should gamers be accountable for in-game war crimes?</a><br />
<a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/technology/2013/oct/07/gta-online-hands-on-los-santos"><span class="bullet">•</span> GTA 5 Online hands-on: a weekend in Los Santos</a><br />
</blockquote>
Atkinson-Jones agrees: "It's strange to think about having to reward
being friendly but it's certainly possible. You could provide an
achievement for being around a fellow player for a certain period of
time without killing them. That could actually lead to hilarious
situations where you get a group of players all hugging together, trying
to get that achievement – although once one of them has gotten it, they
would probably start opening fire - almost a 'who blinks first'
situation from a Tarantino film."<br />
The key then would be in incentivising positive group behaviours
rather than allowing violence to be at the tip of every interaction
tree. A group could receive a health or XP boost by taking on newcomers.
Perhaps designers could introduce certain resources that can only be
shared rather than looted from dead bodies. More violently, there could
be a sort of self-destruct item, which destroys a player's inventory
when they're killed by another human participant.<br />
<strong>Selfish genes</strong><br />
Of course, this is a very mechanical way of thinking about things –
but perhaps that's necessary. We need to be realistic: altruism is rare
in nature – animals that appear to be behaving selflessly toward each
other are merely indulging in mutually beneficial, highly reciprocal
relationships. Lions form prides, not because they totally love each
other, but because unless your prey is old and weak, you need more than
one hunter to bring down a wildebeest. Ant hives aren't social
institutions, they are machines. Even in the most intelligent species
such as apes and dolphins, totally altruistic acts are exceptional;
protecting the group usually makes sense from a survival perspective. As
for humans, we see from the logic of the Prisoner's Dilemma that
although self-interest has its costs, it often carries far lower risks.<br />
But it's sort of sad to think of games – and gamers – in this way.
DayZ is a thrilling evocation of zombie fiction, but what it can't
capture in the same way as linear media like The Walking Dead or Day of
the Dead, is the interplay between survival groups – those tense moments
when one set of desperate people meets another. In the TV series The
Walking Dead, much of the emotional depth comes not from the shoot-outs,
but from those first meetings and negotiations – the myriad opposing
forces working on every encounter. In this world, it is not always best
to shoot first – and that provides the cathartic thrill. And really, if
Walking Dead was simply about shooting, it would be be pretty
unwatchable. It's the relationships that form between, say, Maggie and
Glenn or Michonne and Andrea, that keep us engaged. Amid the slaughter
and the fear, the narrative requires human interaction and emotional
drama. It's how we invest.<br />
And it's not just the game systems that prevent this in titles like
DayZ and GTA Online, it's the paucity of interaction depth. Visual
limitations mean we can't read the body language and eye movements of
our fellow players, and these are the vital unconscious clues to intent
that we pick up constantly in real life. Few games expand their gesture
sets beyond taunts, and even fewer provide amiable collaborative
ventures. In GTA Online, there's not a whole lot you can do with another
player once you've decided not to shoot them. You can't communicate,
you can't do anything except launch a mission together and work side by
side. You can't take them on a date, you can't make promises and plans,
you can't develop. DayZ allows microphone chat, which at least adds
verbal communication, but this can be horribly jarring. Hearing a
12-year-old drawl at you through earphones while their muscular
twenty-something avatar idles on screen doesn't do much for your
suspension of disbelief.<br />
<strong>The heart of the matter</strong><br />
So really, <em>can</em> we encourage <em>emotional</em> interplay
between strangers in online games? Because that's obviously the key;
that is what provides the complexity of human relationships in the real
world. One way is to remove violence altogether. Thatgamecompany did
this beautifully with Journey, distilling interaction down to the
ability to follow and lead, and to make one simple sound. No names were
visible and there was no vocal communication. Yet even with such limited
materials, players were able to build profound relationships, even if
they were fleeting and ethereal. We don't need much to get along.<br />
But DayZ isn't Journey – there's no such thing as a mystical zombie
art-game (though, dammit, I sort of wish there was now). Killing is a
vital part of the experience – as it is with GTA Online. So we're back
to this one apparent requirement: the commodification of friendship. The
introduction of systems that make the prospect of collaboration a
beneficial one. The next time I'm outside a small town in DayZ, I want
to know I can wander in there, meet another player and have a bargaining
chip or two. Already, players are using a raised arm gesture as one of
friendship, or they're yelling "peaceful" down the microphone – but
these simple digital acts are open to abuse and without visual
complexity, it's all meaningless. Which is a shame because from
listening to more experienced players, some of the most profound and
enjoyable experiences have come out of hooking up with strangers and
exploring together.<br />
This isn't going to be popular, but I wonder if some form of
bio-input is the ultimate answer. Valve Software has experimented with
biometric feedback in the past, looking into peripherals that read your
heart rate and alter the game accordingly. We know that Kinect can trace
fluctuations in skin colour to monitor your heart rate too. Perhaps one
day that data will be available to other players. You're approaching a
group of survivors with your arms raised, but the camera sees you
sweating; a message comes up on the other player's screen: "heart rate
rising". What they do with that information is up to them. But they have
it.<br />
And that's the underlying truth, I fear. Emotion is about
information; friendship and love are governed by data – you need to
collect enough to trust someone. I think the first game that really
truly figures this out will be the biggest game in the world.<br />
</div>
</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-55012920183882815772015-10-24T14:12:00.004-07:002015-10-24T14:12:44.777-07:00DayZ hits 1m downloads one year before launch <div dir="ltr" style="text-align: left;" trbidi="on">
Following
Minecraft's footsteps, open-world zombie thriller DayZ is the latest
title to make gamers part of the development process<br />
<figure class="media-primary media-content() " data-component="image" data-media-id="gu-fc-a3b7363d-2d4b-448c-9eb1-e9ae98bf2189" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
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DayZ: unfinished and unforgiving, but a huge success already
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It's hard as nails, it's bug-ridden, and it has no tutorial – but
online zombie adventure DayZ has now been downloaded 1m times, barely a
month after its 'alpha' launch on PC gaming service Steam. Its creator,
New Zealand-born game designer, Dean Hall, has become the latest
independent developer to release a new project before it is finished,
allowing gamers to contribute toward its completion. Potential customers
are warned via a series of titles screens that the game is a work in
progress and that bugs and crashes are commonplace. But this hasn't
stopped hundreds of thousands of <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/pc">PC</a> gamers from pouring hours into the taut, exciting multiplayer action.<br />
Originally written by Hall as a "mod" – or unofficial add-on – for
the popular military shooter ArmA II, DayZ places gamers into the midst
of a zombie apocalypse. Surrounded by unfamiliar landscape and with no
tools to survive, they have to ransack houses to find guns and food,
while avoiding the ravenous undead. The important part is that the game
is online and there are up to 40 other players in the world with you –
you'll either have to compete for resources, usually with deadly force,
or team up to form clans of survivors. Brilliantly, the game supports
in-game chat via headsets and microphones, so players are able to
communicate with each other, plotting their fraught hit-and-run missions
on other gangs. But every once in a while, the game glitches out or
crashes altogether. You just have to re-boot and go back in, reporting
your experiences on the game's packed forums.<br />
<strong>Launch and hope</strong><br />
DayZ is far from alone in this 'release then adapt' approach.
Although indie coders have often launched new projects in unfinished
formats for fans to download and test, it was crossover smash hit
Minecraft that really transformed the concept into a workable business
model. Markus 'Notch' Persson's ingenious construction game was original
launched in an early 'alpha build' state in 2009 but quickly attracted
an enthusiastic community, who feed back on the game's faults and
features. Now available on PC, console and smartphone the title has sold
over 33 million copies. "The benefits [of early release] are that you
don't have to rely on a publisher, and that you can get people
passionate about the game early on," he told <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.gamasutra.com/view/feature/197190/when_players_buy_your_game_before_.php?page=3">Gamasutra last July</a>. "The added pressure of people already having paid for the game can help motivate you to work on it as well."<br />
So
far, the model has worked particularly well for simulation titles, that
can offer up stable gameplay experiences without the need for advanced
visuals or complex narrative sequences. UK developer Introversion was
effectively saved from closure in 2012 when it made its latest title,
the compulsive jail design sim, Prison Architect, available for online
purchase in an early alpha state. The title is yet to receive a full,
complete launch, but has raised over $10m from its community. Speaking
to VG247 last year, the studio's co-founder Mark Morris explained both
the financial and creative advantages: "I liken the process to steering a
oil tanker – we have our own vision for Prison Architect and we know
the path we are heading in, however we keep a close eye on the forums,
Twitter and Facebook accounts, and the thoughts and views of the
community kind of act like tug boats nudging the tanker in one direction
or another."<br />
The approach has become so successful that key digital gaming service
Steam now has an Early Access section, allowing gamers to select and
support unfinished titles. As with the Kickstarter revolution which has
seen hundreds of games funded to completion via crowds of fans, there is
a sense of ownership over the project. Gamers aren't just
'pre-ordering' an interesting new title, they're potentially
contributing toward its growth. In many ways, there's the same appeal as
discovering and supporting a new band from their days gigging in
flea-pit pubs; it's that sense of getting in there first with something
cool and exciting.<br />
<strong>Fear and freedom</strong><br />
DayZ, which was <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://uk.ign.com/articles/2012/08/01/how-dayz-came-to-life">apparently inspired</a>
by Hall's survival training while in the New Zealand armed forces,
still has over a year of development left. The big test for 'early
access' games like this is whether the creators can maintain development
momentum under the pressure of user expectation. While community
expectations can no doubt provide impetus to a small development team,
there's always the danger is can be creatively stifling – especially if a
large vocal community has a wide range of opinions on where the design
should go.<br />
But
it's a problem most indie studios would be happy to face. The
smartphone app stores are flooded with game content, and Steam houses
something in the region of 3000 titles, so visibility is now the key
challenge facing smaller developers. Building a proactive community is,
then, a vital part of the development process – indeed, to gain a slot
on Steam these days, developers have to go through the Greenlight system
in which gamers vote on which new titles should get into the store.<br />
The interesting thing about DayZ's success is that this is such an
uncompromising experience. It is not a nice welcoming simulation title,
it is a raw, bleak and almost entirely emergent survival horror game.
The community <em>is</em> the experience. And with a million players,
the lesson it appears to be teaching is – provide a compelling universe
and let participants build from there. Is this the future of traditional
game design, or the end of it?</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-80748163016917852342015-10-24T14:12:00.001-07:002015-10-24T14:12:12.961-07:00 The Banner Saga – review <div dir="ltr" style="text-align: left;" trbidi="on">
<img alt="Banner Saga" class="maxed responsive-img" height="384" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/16/1389860272185/banner_main.png?w=300&q=85&auto=format&sharp=10&s=778b6fa66aa9dc425df57c36c07068ba" width="640" /><div class="content__article-body from-content-api js-article__body" data-test-id="article-review-body" itemprop="reviewBody" style="display: block;">
<span class="drop-cap drop-cap--wide"><span class="drop-cap__inner">T</span></span>he
sun is frozen in The Banner Saga's sky, but its beams are yet to melt
its ice-capped landscape. It has, however, thawed a video game genre
that has somewhat languished in recent years: the Tactical RPG.
Extravagantly funded by a ravenous crowd of Kickstarter patrons,
designed by a team of ex-Bioware designers and artists, and scored by
the Grammy-nominated composer Austin Wintory, this is exquisitely
produced fantasy, marrying Game of Thrones-esque medieval war fiction
with the intricacies of a Chess-like combat board game.<br />
Off the battlefield, the team's storytelling heritage is clear. These
vast, Nordic landscapes share a whisper of DNA with Star Wars'
nether-planets, which the team previously crafted while working on Star
Wars: The Old Republic. But the stories that fill them more closely
share the family likeness. The game takes place under a broad sweep
banner narrative involving nations and races (the canny humans, the
hulking Varl giants and their common enemy, a dead-eyed statue people
known as Dredge) on the verge of war. But the wonder is in the close-up
vignettes, the pressures of leading a marching army of cold, hungry
recruits, and the ever-present weight of having to make seemingly small
decisions with unforeseeable consequences.<br />
<strong>Man management</strong><br />
As you move your soldiers from place to place you watch as they inch
across beautiful, hand drawn landscapes. The view is interrupted every
few seconds with a narrative interlude, some problem or other than must
be attended. One of your men may drink too much mead and brawl. You must
intervene, choosing whether to force an apology from the aggressor or
laugh off the scuffle. Or you might come across a ragtag band of men,
seemingly lost in the woods. Do you allow them to join your ranks and
gain a potential valuable asset, or turn them away? <br />
You accept food from a benign merchant, but what if it turns out to
be spoiled or, worse still, poisoned? Some video games dole out a
handful of these multiple choice decisions per chapter. The Banner Saga
is an endless flow of questions demanding immediate answers. The
consequences must not only be lived with, but also open up further
avenues of choice. Your men may fall. Do you discard the supplies or
wait to see if something else is causing the sickness? Do you force the
men to fight in the next battle, weakened by stomach cramps, or send
them back home? Journey is story. Never has this been made clearer than
in The Banner Saga.<br />
<figure class="element element-video" data-canonical-url="http://www.youtube.com/watch?v=FbIH0vS9AG4">
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The burden of leadership is made keener by the fact that you are free
to make poor choices: enter a battle in which you are vastly
outnumbered and your troops will fall. Rather than being booted to the
melancholy purgatory of a Game Over screen, the story adapts to your
failure, which the narrative then bears like a scar, forever altering
its trajectory. It takes a little getting used to. But rather than
reaching for the 'load' button to undo your mistakes, there is benefit
to living with them. In time the story feels fully your own. You are no
longer a video game player, pretending to be an active participant in a
pre-set narrative. Instead you are a complicit protagonist, and the game
bends to your will – good or ill.<br />
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On
the battlefield this is a finely tuned yet somewhat traditional
tactical RPG. You choose a selection of warriors and take turns with the
AI to move them one-by-one about the gridded board. First you choose
where to position a unit according to its range. Then you choose to
attack an enemy, targeting either its armour or its health. The former
indicates how many points of damage a character can deflect while the
latter represents the amount of damage they can do, a number that
ingeniously doubles for their health points. In this way, as units
sustain damage, they are simultaneously weakened.<br />
Different characters specialise in different classes: sheildmasters
have high defense and are useful for forming a defensive wall in front
of weaker characters; archers can attack from a distance yet are weak at
short range; spearmen can attack foes two squares away and so on. Your
characters earn Renown points every time they defeat an enemy and this
currency can be used to increase their abilities or, alternatively, to
buy stat-enhancing accessories. <br /> <br /><strong>Battle tactics</strong><br />
The strategic element to fights is rich. "Willpower" points can be
used to increase a unit's range or its offensive potency (and this
limited, move-enhancing currency can instantaneously turn a battle's
tide). Strategic arrangement of your troops is key to success – the Varl
take up four squares on the grid each, and will block both their
comrades and competitors' movements. In larger fights there's even an
option to continue the battle after it's won, with the potential to
defeat more of the opposing army's soldiers, albeit with the increased
risk of fighting with already weary and wounded men.<br />
However, the consequences to actions on the field feel less keen than
they do off. If one of your troops falls in battle, they resuscitate as
soon as it's finished, requiring only a few days "off" to recuperate to
full health again. You cannot lose the key players in the drama on the
battlefield, even if a few can be lost quite easily by making the wrong
decisions elsewhere. This is, nevertheless, a game with a strong sense
of place and the ambiance elevates it beyond the immediate competition.
The illustrated 2D art is expressive, while Wintory's score is nothing
short of extraordinary – evocative, unusual and rousing. The designer
Sid Meier famously said that a game is a series of interesting choices.
It's a maxim fully embraced by The Banner Saga, which stitches those
choices into its very fabric to form a tapestry that is wholly your own.<br />
</div>
</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-70123204666239090862015-10-24T14:10:00.004-07:002015-10-24T14:10:48.600-07:00 Luigi's death stare: are you enjoying Mario Kart 8? <div dir="ltr" style="text-align: left;" trbidi="on">
<img alt="Luigi in Mario Kart 8" class="maxed responsive-img" height="480" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/6/9/1402314755955/cba63467-b038-4fc7-ba95-9eb02d015766-1024x768.jpeg?w=300&q=85&auto=format&sharp=10&s=05b68d6b54304c8ea5c9d88a13c7f0e4" width="640" />New weapons, new courses, end-of-race highlights and an ice-cold Luigi. How are you finding Mario Kart 8?<br />
<a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/technology/2014/may/16/mario-kart-8-review-the-best-drive-ever">Mario Kart 8</a> has been out in the UK for a few weeks now, leading to a <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.computerandvideogames.com/465552/mario-kart-8-boosts-uk-wii-u-hardware-sales-666/">large increase in sales</a>
for the Wii U console. It's even seen the birth of its own meme: the
Luigi death stare, a celebration of the lesser-heralded Mario brother's
ice-cold reaction to the administration of shell-based justice.<br />
<figure class="element element-video" data-canonical-url="http://www.youtube.com/watch?v=PpxDuNFBVj8">
<div class="embed-video-wrapper u-responsive-ratio u-responsive-ratio--hd">
</div>
</figure>
I spent the weekend getting to grips with the latest <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/mario-kart">Mario Kart</a> iteration, sunny weather eschewed in favour of relentless four-player action.<br />
Early impressions are positive. The karts drive, glide and slide like a dream, and <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/technology/2014/may/16/mario-kart-8-review-the-best-drive-ever">as our review points out</a>,
the new weapons are a satisfying addition. And there are little
pleasing tweaks that make logical sense: if you plunge off the course
into a cute ravine, <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.mariowiki.com/Lakitu_%28character%29">lakitu</a>
returns you to the track much more efficiently than before, power-up
boxes reappear a touch more quickly, and there is now a means of
combatting the blue shell. At last.<br />
<figure class="element element-tweet" data-canonical-url="https://twitter.com/jamesofwalsh/statuses/475755806923960320">
</figure>
And, as the <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://i.kinja-img.com/gawker-media/image/upload/rozuiotmre98hzpwjoji.gif">Luigi death stare</a>
indicates, the end-of-race highlights (which you can edit and upload to
Youtube) are an absolute joy. We almost enjoyed watching each hit, in
glorious high-def slow-mo, as much we enjoyed playing the game itself. <br />
As many have mentioned, the only bugbear is battle mode, which now
takes place on the standard courses rather than ready-made arenas, and
this is a real step backwards. "I can't find anyone," and "it's taking
ages, isn't it?" were standard responses when we tried it.<br />
Now it's over to you. How are you finding Mario Kart 8? Is it the
best one, or do you still pine for the SNES or the underrated Game Cube
versions? Share your thoughts - and links to your own killer videos, if
you've made any - in the thread below.</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-45496482955915002382015-10-24T14:09:00.002-07:002015-10-24T14:09:54.163-07:00 The 30 greatest video games that time forgot – part one <div dir="ltr" style="text-align: left;" trbidi="on">
From early rhythm action to weird puzzlers, discover the best games most players have never heard of
<br />
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<img alt="Eternal Darkness" class="maxed responsive-img" height="384" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/15/1389808668608/eternaldarkness_gcn_ss10.jpg?w=300&q=85&auto=format&sharp=10&s=f6dbc7864c3ac0a8e6fe244218edc689" width="640" />
</div>
<figcaption class="caption caption--main caption--img" itemprop="description">
Lost survival horror classic, Eternal Darkness – a title that handily describes what many of these games have been consigned to
PR
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History is not always kind to great games. Titles once heralded as
masterworks are often lost as console cycles turn. Alternatively, there
are the offbeat outliers completely shunned during their own lifetimes,
only to be quietly ransacked by later generations of designers. <br />
Over the next three days, we'll be remembering 30 brilliant,
idiosyncratic, challenging or just plain weird titles that have been
erased from the gaming annals, or at least criminally overlooked. Each
one of these did something interesting with gaming, but not interesting
enough to be endlessly recalled in misty-eyed retro articles or on <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.youtube.com/watch?v=r0RX1Sbu8t8">Charlie Brooker-fronted TV shows</a> (which are otherwise excellent and include really great interviewees). <br />
Here then are the first ten. Come back for the others, and add your own favourites in the comments section.<br />
<h2>
<strong>3D Deathchase (Micromega, ZX Spectrum, 1983)</strong> </h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="3D Deathchase" class="gu-image" height="480" itemprop="contentUrl" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2011/2/8/1297191224950/deathchase.gif" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
Public domain
</figcaption>
</figure>
Written by lone coder Mervyn Estcourt (who also produced a PC remake
almost 20 years later), this remarkably progressive 3D chase game gets
the player to ride a futuristic motorbike through dense woodland,
attempting to track down and shoot enemy riders. The first-person view
and smooth sensation of movement were astonishing at the time
(especially considering it ran on the older 16k Spectrum), and it no
doubt prepared the way for future variations on the free-roaming driving
game. <br />
<h2>
<strong>Aliens: The Computer Game (Software Studios/Electric Dreams Software, C64/Spectrum, 1986)</strong></h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="Aliens" class="gu-image" height="480" itemprop="contentUrl" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2011/2/8/1297191108024/aliens.gif" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
Public domain
</figcaption>
</figure>
Activision developed a higher profile tie-in with the movie, but this
version is far superior and has lasting significance in game design
terms. It's essentially a prototype first-person shooter, complete with
moveable targeting reticule. Players have to guide six of the film's
characters through the colony base, toward the queen's lair. Although
movement is essentially limited to left and right (firing at doors lets
you pass through them), the action is tense, and the importance of quick
accurate aiming hints at the FPS genre to come. There's also a
brilliantly unsettling take on the movie's motion tracker sound effect
that ramps up the scare factor considerably. And when the face huggers
leap at you it is TERRIFYING.<br />
<h2>
<strong>Alter Ego (Activision, C64/PC/Apple II, 1986)</strong></h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="Alter Ego" class="gu-image" height="480" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/15/1389784559318/_-Alter-Ego-C64-_.png?w=300&q=85&auto=format&sharp=10&s=f7ec38b9272626555ed0f0da649f34da" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
Public domain
</figcaption>
</figure>
Designed by psychologist Peter Favaro and released by Activision,
this fascinating life simulation gave players control over either a male
of female character as they progressed from childhood to grave.
Designed around a series of key decision points, the mostly text-led
experience was based on hundreds of interviews conducted by Favaro, and
was hugely critically acclaimed at the time. Alongside David Crane's
Little Computer People it laid the groundwork for modern era 'virtual
soap opera' The Sims. Alas, the sparse presentation and offbeat concept
meant that the sim sold poorly and a proposed sequel, based around
rearing a child, was scrapped. You can <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.playalterego.com/">play the original game online</a>.<br />
<h2>
<strong>Astal (Sega, Sega Saturn, 1995)</strong></h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="Astal" class="gu-image" height="480" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/15/1389785781433/main.jpg?w=300&q=85&auto=format&sharp=10&s=c9b6231650f3204b62503cbb25c3ea7a" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
Public domain
</figcaption>
</figure>
Golden Axe, Streets of Rage, Altered Beast... Plenty of Sega's
classic side-scrolling beat-'em-ups have gone on to become legends of
the genre. But somehow this beautiful early Saturn release has been
over-looked, perhaps thanks to the console's untimely demise. Banished
from Earth by an angry goddess, the eponymous hero must return to rescue
the girl he loves. Okay, forget the horribly trite story and revel in
the gorgeous hand-drawn artwork and interesting attacks, which allow
Astal to blow his enemies over or wrench trees out of the ground to
chuck at them. There's also an innovative but tricky co-op mode which
puts player two into the role of Astal's bird sidekick. Watch <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.youtube.com/watch?v=mp7zZTCDKXE">this playthrough</a> for a taste of the wonderful character and landscape designs.<br />
<h2>
<strong>Bioforge (EA/Origin, PC, 1995)</strong></h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="BioForge" class="gu-image" height="480" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/15/1389786801429/922.jpg?w=300&q=85&auto=format&sharp=10&s=c08e6b6e8f959ebf308fa0676930c83d" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
Public domain
</figcaption>
</figure>
The 'interactive movie' genre of the mid-nineties brought us plenty
of nightmarishly unplayable dross as game developers fell in love with
the idea of using full-motion-video to create, ugh, 'cinematic'
experiences. But there were some fascinating examples, too, like this
cyberpunk adventure, set on a moon base governed by religious maniacs
who believe man must evolve toward a machine hybrid state. The player
awakens as a cyborg and must escape the lab, piecing together the plot
from PDA diary entries and using security and computer equipment to hack
defenses. Elements of Deus Ex, Bioshock and Dead Space all combined to
create a tense and interesting adventure. It was so expensive to
produce, however, that low sales ensured a planned sequel never arrived.
Edge later published an <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.edge-online.com/features/the-making-of-bioforge/">excellent 'Making of' feature</a>.<br />
<h2>
<strong>Bust A Groove (Enix/Metro Graphics, PlayStation, 1998)</strong></h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="Bust A Groove" class="gu-image" height="480" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/15/1389787869464/625492-bust-a-groove.png?w=300&q=85&auto=format&sharp=10&s=072009f632027d0050a023db2e2e24ae" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
Public domain
</figcaption>
</figure>
This formative rhythm action game allowed players to pull ridiculous
disco moves by following onscreen direction prompts, in a similar manner
to Sony's revered PaRappa The Rapper. The difference here was the
head-to-head competitive dance fighting element, which allowed players
to knock each other off the beat with special moves. featuring an
excellent old school electronica soundtrack, bizarre characters and
super-smooth animation, the title helped build the 'post-pub gaming'
credentials of the PlayStation, and spawned a sequel. But then Konami's
all-conquering Dance Dance Revolution strutted in and kicked it from the
dance floor.<br />
<h2>
<strong>ChuChu Rocket (Sega/Sonic Team, Dreamcast, 1999)</strong></h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="ChuChu Rocket" class="gu-image" height="480" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/15/1389788651919/CHUCHU05.jpg?w=300&q=85&auto=format&sharp=10&s=9ae8868bb172fba12accb9665943b092" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
PR
</figcaption>
</figure>
How this frenetic combination of Pac Man, Bomberman, Lemmings and
Hungry Hippos failed to become a continually updated gaming staple is
beyond us. Designed by Sonic co-creator Yuji Naka its a fast-paced maze
puzzler in which players have to place arrows on the floor to direct a
line of mice into rockets so they can escape the giant cats. In the
four-player mode, participants can also use arrows to direct the feline
enemies toward competitors, making for fraught, hugely tense encounters.
Given away free to European Dreamcast owners, the game would later
surface on GameBoy Advance and iPhone but should – if there were a whiff
of justice in the universe – be on every single console released from
1999 to the end of time. <br />
<h2>
<strong>Devil Dice (Sony/Shift, PlayStation, 1998) </strong></h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="Devil Dice" class="gu-image" height="480" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/15/1389790764807/DevilDice.jpg?w=300&q=85&auto=format&sharp=10&s=728ff16168e72cca0fed8feb0c01017f" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
Public domain
</figcaption>
</figure>
A modest success on its release and followed by two sequels, this
ingenious puzzler was briefly revered, but has somehow slipped from
wider memory. Players must navigate a grid by stepping on and turning
dice cubes – when the numbers match between two adjacent cubes, they
disappear. It's sort of a numerical match-three puzzle, bringing in some
of the deeper mathematical reasoning of Area/Code's masterful iPhone
title Drop 7. Originally created using Sony's home programmable console,
the Net Yaroze, it was one of the few 'homebrew' titles to see release
on the PlayStation.<br />
<h2>
<strong>Eternal Darkness: Sanity's Requiem (Nntendo/Silicon Knights, GameCube, 2002)</strong></h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="Eternal Darkness" class="gu-image" height="480" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/15/1389806380189/eternaldarknessnew.jpg?w=300&q=85&auto=format&sharp=10&s=b717639c03e14b940bfbb68970179cf2" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
PR
</figcaption>
</figure>
Resident Evil 4 wasn't the only standout survival horror experience
on Nintendo's under-rated GameCube system. Developed by Canadian studio
Silicon Knights and originally meant for the N64, Eternal Darkness is a
fascinating Lovecraftian romp following student Alexandria Roivas as she
investigates a book known as the Tome of Eternal Darkness. The powerful
artifact provides a portal to a selection of previous lives, all of
which must be experienced by the player in order to prevent an ancient
evil from re-surfacing. The narrative and locations are creepy and
unsettling, but the best part is the sanity meter which drops when you
encounter enemies, causing visual disturbances and even tricking you
into believing your TV has broken. Critically acclaimed, but with its
mature rating, Nintendo fans weren't quite sure what to make of it. A
proposed sequel never materialised, despite Nintendo renewing the
trademark as recently as 2012. Meanwhile, many of the original
development team went on to form Precursor <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/games">Games</a> and planned a spiritual successor named Shadow of the Eternals which sadly failed to hit its crowdfunding target last year.<br />
<h2>
<strong>Freedom Fighters (EA/IO Interactive, GameCube/PS2/Xbox, 2003)</strong></h2>
<figure class="element element-image img--landscape img--inline " data-component="image" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
<div class="u-responsive-ratio" style="padding-bottom: 75.00%;">
<img alt="Freedom Fighters" class="gu-image" height="480" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/15/1389807527067/Freedom.jpg?w=300&q=85&auto=format&sharp=10&s=cd67fe659f3fb02a624b150299d9f24c" width="640" />
</div>
<figcaption class="caption caption--img caption caption--img" itemprop="description">
PR
</figcaption>
</figure>
On a break from the highly successful Hitman series, Danish studio IO
Interactive launched this innovative third-person squad-based shooter,
getting to the whole America-invaded-by-Communists plotline years before
Call of Duty. You play as a regular Joe running round New York taking
on Russian troops – and the more you kill, the more your 'Charisma
rating' goes up allowing you to recruit followers. That's right, it's
Homefront meets Twitter. Great controls and smooth squad commands
ensured a thrilling yet surprisingly tactical experience. Maddeningly,
it seems a proposed sequel was put on indefinite hold so that the studio
could work on... Kane & Lynch. Wha... why?!! Anyway, Eurogamer has a
nice retrospective on the game <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.eurogamer.net/articles/2012-11-11-freedom-fighter-retrospective">right here</a>.<br />
</div>
</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-54673077902532731472015-10-24T14:08:00.002-07:002015-10-24T14:08:30.195-07:00 Tetris is back - for the PS4 and Xbox One <div dir="ltr" style="text-align: left;" trbidi="on">
Publisher Ubisoft is bringing the 30-year-old game to the PlayStation 4 and Xbox One. But can the original be improved?<br />
<figure class="media-primary media-content() " data-component="image" data-media-id="gu-fc-1c0e155b-ee01-4975-819e-1b41cef6b782" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
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<img alt="Tetris" class="maxed responsive-img" height="384" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/17/1389956987278/d0667cac-6075-4548-9acf-25544853b2b1-300x180.png?w=300&q=85&auto=format&sharp=10&s=4afb56919e0979b47176438187c2c68c" width="640" />
</div>
<figcaption class="caption caption--main caption--img" itemprop="description">
A section from the Windows Phone version of Tetris
</figcaption>
</figure>
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<a class="tone-colour" data-link-name="auto tag link" href="http://www.theguardian.com/profile/keithstuart" itemprop="sameAs" rel="author"><span itemprop="name">Keith Stuart</span></a></span></div>
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During the summer of 1992, between my first and second years at
university, I was working at a video game studio in Leamington Spa. We
were supposed to be coding a game called Tank Commander for the PC, a
long forgotten battle simulation – but one day someone brought in a Game
Link cable, which allowed the connection of two Nintendo Game Boy
consoles together. Of course, we immediately loaded up the <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/tetris">Tetris</a>
competitive mode, in which any lines you cleared on your own screen
would be cruelly transferred on to the bottom of your opponent's stack.
Work ground to a halt and didn't really start up again for several days.<br />
Most gamers have Tetris addiction stories. Since Russian programmer
Alexey Pajitnov first developed the falling shape puzzler while working
at the Moscow Academy of Sciences, it has sold hundreds of millions of
copies on more than 50 different hardware platforms. Scientists and
designers have pondered over its incredible appeal, the extraordinary
compulsion people have to fit variously shaped tetriminos into a bucket.
The beauty of Tetris is its simplicity – you need to understand no
archaic conventions or rules of gaming. It is also essentially about
something that we all find intrinsically satisfying: tidying up. Tetris
is about imposing order, even if the task is Sisyphean, because the
shapes don't stop falling until your stack reaches the top of the
screen. And then it's all over.<br />
<strong>Tetris in the brain</strong><br />
The purity and popularity of the game have made it one of the most
researched and analysed on the planet. Countless papers have been
written on its cognitive effects. In 2009 research <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.biomedcentral.com/1756-0500/2/174">published in BioMed Central</a>
suggested that playing Tetris could strengthen the neural networks in
the brain, perhaps even improving memory. In the same year, researchers
at Oxford University <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://news.bbc.co.uk/1/hi/health/7813637.stm">found that</a>
Tetris could help reduce flashbacks in sufferers of post-traumatic
stress disorder. Most of us just joked about the "Tetris effect", the
worrying after-image of falling blocks behind our eyes and even <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.scientificamerican.com/article.cfm?id=tetris-dreams">in our dreams</a>.<br />
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Since
the original prototype was developed by Pajitnov on an ancient
Electronica 60 computer, the rights to the concept have been swapped,
fought over, brought and more-or-less stolen dozens of times. The
publishing history of the game is a complex puzzle in its own right (and
to find out more you should immediately watch the documentary <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://topdocumentaryfilms.com/tetris-from-russia-with-love/">Tetris: From Russia With Love</a>).
There have been various attempts to update the recipe. 1989's Super
Tetris added a smart bomb, 2001 title Tetris Worlds brought in a story
mode(!), and introduced "hold" and "easy spin" mechanics. Later,
Electronic Arts toyed with the brand for a while, producing the decent
Tetris Blitz (which bought in an against-the-clock dynamic) before
blotting its copybook entirely by trying to <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.mcvuk.com/news/read/ea-releases-subscription-supported-tetris/088036">add a subscription service to its iOS Tetris port</a>.<br />
<strong>Tetris unbound</strong><br />
These were sort of interesting, but most players saw them for what
they were – rather desperate attempts to re-sell a concept that worked
fine in its cheaply and readily available traditional incarnations.
Although, if we're going to to get really into this, the four-player
mode in the Nintendo 64 title, Tetris 64, was pretty special, as was
crossover classic Tetris With Card Captor Sakura, by longtime Street
Fighter developer Arika. That company actually produced some of the
finest Tetris spin-offs in the form of its Tetris: The Grand Master
series. Here is expert player Jin8 besting Tetris Grand Master 3. It is
pretty incredible:<br />
<figure class="element element-embed" data-alt="Tetris Grand Master">
</figure>
There were also lots of very good rivals, including Jay Geertsen's
Columns, later licensed by Sega for various platforms including the Game
Gear, the manufacturer's rival to Game Boy. Better though was the
gloriously kawaii Puyo Puyo series, originally from Japanese studio
Compile. Even Mario got in on the scene with 1990 title Dr Mario, which
replaced all the shapes with differently coloured pills in what was
clearly a tribute to acid house culture. (I'm kidding.)<br />
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Now
another giant publisher, Ubisoft, has announced that it is working with
the Tetris Company – the organisation co-founded by Pajitnov that now
owns the right to the brand – to produce new versions for the Xbox One
and PlayStation 4. So far it has given nothing away about what these
games will look like or what new features will be added to take
advantage of these ultra powerful machines – but surely new modes and
functions will appear. What will they look like? Will it make use of the
console's connectivity to offer vast global leaderboards like <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://zone.tetris.com/">Tetris Zone</a>?
Will we see cloud support? A persistent massively multiplayer Tetris
arena, thousands of blocks wide, which a global audience must keep from
spilling over?<br />
Perhaps there will be Tetris Kinect, where you shout, "turn it left,
no LEFT, now drop it, no not there, THERE!" Maybe Ubisoft will bring in
some of the epic narrative sweep of the Assassin's Creed series. It
turns out that this version of Tetris is being played in a vast national
security mainframe, and players have to hack the code to escape the
distopian nightmare. Are we going to get Tetris Rayman, the unlikely
combination of block-falling puzzler and Ubisoft's invisible-limbed
platforming mascot? Is there something in the Geneva convention that
could stop this from happening?<br />
One thing is certain, while there are computers to play games on
there will be Tetris. It defies barriers of language and culture, it is
interactive entertainment in its purest form. Somehow, Pajitnov
discovered a hotwire to the brain; an experience that talked to the
central processing unit of human cognition in its own machine language.
And like the rest of the industry, despite following up with several
sequels, the puzzle-obsessed coder has not repeated the brilliance of
Tetris. But of course we should be reminded of the apocryphal story
about Joseph Heller. When told by an interviewer that, since Catch 22,
he had never managed to write anything as good, he replied, "No, but
then neither has anyone else". Pajitnov can quite securely make the same
claim.</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-47267843950762998662015-10-24T14:07:00.004-07:002015-10-24T14:07:42.372-07:00 Thief – hands-on in the city of stealth <div dir="ltr" style="text-align: left;" trbidi="on">
Eidos
Montreal's reboot of the respected stealth-'n-steal series is out in a
month. Here's what is right – and wrong – with the return of Garrett,
the master thief<br />
<figure class="media-primary media-content() " data-component="image" data-media-id="gu-fc-02983221-8399-41e4-bf59-0ac8d3d63350" id="img-1" itemprop="associatedMedia image" itemscope="" itemtype="http://schema.org/ImageObject">
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<img alt="Thief" class="maxed responsive-img" height="384" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/27/1390856522328/a7fd01d7-8fe8-4612-ae6b-32532b3957ed-2060x1236.jpeg?w=300&q=85&auto=format&sharp=10&s=37aefc279f9753e039523014b839222f" width="640" />
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<figcaption class="caption caption--main caption--img" itemprop="description">
Thief – the murky streets are filled with unexpected treasures. And also violence, of course. Photograph: /PR
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<a class="tone-colour" data-link-name="auto tag link" href="http://www.theguardian.com/profile/nick-cowen" itemprop="sameAs" rel="author"><span itemprop="name">Nick Cowen</span></a></span></div>
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Tuesday 28 January 2014 <span class="content__dateline-time">10.25 GMT</span>
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As obvious as it sounds to say so, in Thief you nick things. You nick
a lot of things. Broaches, necklaces, wallets, candelabras – anything
valuable that’s lying around, really – all disappear into lead character
Garrett’s bottomless sack. You find some of these trinkets in the
oddest of places. One would expect to find a golden bracelet or two in a
wall safe behind a painting, but who on earth leaves a goblet on a
rooftop or a couple of coins at the edge of a pond? <br />
It’s possible Eidos Montreal has left these treasures scattered
around its game in order to put players into the headspace of its
protagonist. If that’s the case, it’s an absolutely brilliant piece of
game design because stealing stuff in Thief isn’t just fun, it’s <i>addictive</i>.
After you’ve snagged your first five or six baubles, you turn into a
veritable magpie, filled with the need to obtain any shiny object that
catches your eye – even if it means potentially exposing Garrett to
danger in order to do so.<br />
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Victorian architecture and glowing lamps dominate the cityscape. Photograph: /PR
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This compunction to loot is backed up by the game’s open-ended
structure and its seductive visuals. Thief is set in a gloomy urban
sprawl where the architectural schools of Gothic Europe, Victorian
London and Steampunk Sci-Fi seem to have collided in a mass of fog and
iron. Garrett, the antihero of the series since its 1998 premier, it
back, returning to his home town, which is now in the grip of both a
horrendous plague and a tyrannical ruler, The Baron. A palpable sense of
foreboding drapes over the city’s gas-lit streets and shadowy rooftops,
an effect that's bolstered in no small part by the flashes of lightning
that briefly throw Garrett’s shadow onto the walls and pavements around
him. <br />
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As
sinister as all of this sounds, it becomes apparent early on that the
city’s darkened alleys and rooftops are Garrett’s natural turf. His
almost superhuman ability to move noiselessly through his surroundings
turns the skyline into his thoroughfare and makes every shadow inviting.
Garrett also has the ability to ‘swoop’ in and out of pools of light
quick enough to avoid detection and he’s armed with a decent array of
equipment including lockpicks, arrows and a crowbar to force open the
odd window. <br />
<b>Stolen moments</b><br />
From the evidence of the preview build I had a hands-on with, Thief
contains the odd brief linear passage, which helps move the narrative
along, but once Garrett is in view of a building that houses a valuable
item he’s after – whether it’s part of a side task or a story mission –
Thief’s structure opens up. Couple this loose framework with the
kleptomaniacal impulses instilled in the player early on, and the world
in Thief simply begs to be explored.<br />
A great example of this came in a passage of play that occurred after
the game’s tutorial level. Following a bungled robbery, Garrett has to
flee back to his headquarters through one of the city’s mercantile
districts. As I picked my way across the rooftops, noticing one of the
streetlamps below me was on the blink, I heard a couple of guards
remarking on how beautiful a golden mask in the window of a jewelry shop
looked. <br />
Well, I thought, since it’s on my way…<br />
The jewelry shop raid showed there’s no set way to successfully pull
off a burglary. It was possible to enter the premises by observing the
nightwatch guards, taking note of their patrol patterns, timing one’s
movements to reach the shop’s door undetected and then picking the lock.
Alternately, I found after circling the emporium that one of the back
windows was open and it was possible to enter by shimmying up to the <br />rooftops. <br />
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Once
inside, I found that the open-ended nature of progression extended to
the style of play, too. To wit, players can proceed as loudly or as
quietly as they wish, although, they’ll find that playing to Garrett’s
strengths – moving stealthily and hiding from view – will prove easier
in the long run. <br />
In my run-through I found one guard on patrol in the front of the
shop, but incapacitating him was easy enough. Once I’d helped myself to
everything that wasn’t nailed down on display, I picked the lock of the
window display case and found that the mask in the window that had so
impressed the guards was actually gilded glass – and thus, worthless. At
this stage I could’ve easily made my exit but I decided, since I’d gone
to the trouble of breaking and entering, to explore more of the shop.<br />
<b>Waiting game</b><br />
I’ll neither reveal what else I found, nor will I reveal any details I
uncovered about the game’s plot. Believe me when I tell you I’m doing
you a favour. The less one knows about the game’s story and its hidden
gems, the better time one will have when it’s released at the end of
next month. That is, if the developers manage to sort out a couple of
issues that, while not deal-breakers, are irritating nontheless. <br />
Garrett’s inventory, for example, is mapped to the touchpad on the
PS4’s controller, but the way it’s been implemented renders it virtually
useless. Selecting items involved hammering the touch pad and while
this is irritating enough during sections of the game where players have
a lot of time to consider their next move, it would be potentially
infuriating if they’re under duress. <br />
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<figcaption class="caption caption--img caption caption--img" itemprop="description">
A plague threatens the clearly otherwise joyous city.
</figcaption>
</figure>
Second, I can report that Thief has a lot of beautiful loading
screens, and it's a good thing that they're beautiful, because players
will be staring at them for an awfully long time. Loading times feel
interminable and when they appear after a dramatic cutscene, they manage
to break the atmospheric spell the rest of the game is so successful at
weaving. Facial animations also look positively last-gen, which is
strange because the environments surrounding the characters are
fantastically detailed and beautiful to behold. <br />
Here’s hoping Eidos manages to tighten up these flaws because they’re
sizable chinks in Thief’s armour. Without them, there’s a lot in this
game to admire and the pull of its world is intoxicating. Thief puts
players into the headspace of a light-fingered ne’er-do-well and drops
them into a city filled with trinkets to steal and houses to break into.
Even with its niggles Thief accomplishes what the best adventure games
set out to do – it surrounds you in a world you could get lost in and
then encourages you to do just that.<br />
<i><span class="bullet">•</span> Thief is released on PC, PS3, PS4, Xbox 360 and <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/xbox-one">Xbox One</a> on 25 February (US), 27 Feburary (Aus) and 28 February (Europe)</i><br />
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<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-66807875144601208792015-10-24T14:06:00.003-07:002015-10-24T14:06:30.744-07:00 Video games, Down's syndrome and my brother – a personal story <div dir="ltr" style="text-align: left;" trbidi="on">
Playing with my brother is one of many ways he reveals himself not as a 'disabled' person – but simply as his own person<br />
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<img alt="Tekken 5" class="maxed responsive-img" itemprop="contentUrl" src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/31/1391183011930/7dce5188-69f8-4aec-a7f1-574a135fde0e-bestSizeAvailable.jpeg?w=300&q=85&auto=format&sharp=10&s=6547f440ac6f46c0b623eea42114de34" />
</div>
<figcaption class="caption caption--main caption--img" itemprop="description">
Tekken 5 – under no circumstances trust another player when they say: "Come here, I want to show you something".
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</figure>
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<a class="tone-colour" data-link-name="auto tag link" href="http://www.theguardian.com/profile/evans-thirlwell-edwin" itemprop="sameAs" rel="author"><span itemprop="name">Edwin Evans-Thirlwell</span></a></span></div>
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<time class="content__dateline-wpd js-wpd content__dateline-wpd--modified tone-colour" data-timestamp="1391245201000" datetime="2014-02-01T09:00:01+0000" itemprop="datePublished">
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In 2005, when my brother Euan was still a schoolboy, we used to play a
lot of Tekken 5 together. If you’re new to this famed video game
series, it’s a one-on-one martial arts simulation - a ferocious yet
endearingly flamboyant experience in which kangaroos trade blows with
Bruce Lee clones, and winged demons grapple with Mexican wrestlers. And
I’m fairly sure Euan is the most savage, unprincipled Tekken 5 player
ever to lay his traitorous fingers upon a <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/playstation">PlayStation</a>
2 controller. Some combatants prefer to open a bout with a stunning
punch to the lower body, but Euan was rarely that noble. “Wait a minute,
I want to show you something,” he'd declare, scuttling out of reach.
I'd dutifully wander over to his side of the arena, all patronising
solicitude, and he'd kick me in the face.<br />
Euan is a dirty fighter. But he's also one of the most fearlessly
imaginative people you'll meet. And in its own small way, our shared
gaming hobby is proof of this. <br />
There have been greater feats of
cunning than his Tekken 5 antics, but I like that this gambit ducks
right under the question of manual dexterity. Because on those, purely
functional and “sportsmanlike” terms, my brother has a bit of a mountain
to climb. He has Down's syndrome, a genetic disorder that reportedly
affects one in every thousand babies born in the UK each year, which
often hampers development of fine motor skills. I've never been entirely
sure what Euan thinks of his condition - if you're reading this, Euan, I
apologise in advance for any stupid assumptions. Still, I can’t help
but wonder whether his refusal to fight on terms that leave him at a
disadvantage reflects something larger, a rejection of the role society
wants him to play.
<br />
<br />
<h2>
<b>Video games v expectations</b></h2>
<br />
We expect “disabled” people – that’s to say, the vast spectrum of
individuals branded as such for convenience’s sake – to be passive,
unaware, content to live within tacit, carefully managed social nooks in
exchange for support and guidance. We don’t expect them to recognise
such overtures for what they are: well-meant, but limiting. We don’t
expect them to break the rules. We don’t expect them to cheat.<br />
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By
contrast, most video games outright encourage you to misbehave, or at
least refrain from bringing down the gavel when you do: it's what makes
them such wonderful, liberating escapism. Just look at Timesplitters 2,
the work of Nottingham-based developer Free Radical Design. A deranged
cartoon shooter, it tracks how each player conducts him or herself over
the course of match, and offers an appropriate award. As a rule, I’d end
up with something like “hypochondriac” (for picking up medical kits
when you're unhurt) or “backpeddler”. My brother, meanwhile, walked away
from each round with a toxic cocktail of judgments usually including
“most cowardly”, “bully” or “ricochet king”. He's a sneaky player.<br />
Euan and I don’t play Timesplitters 2 anymore, mainly because the
disc has come to resemble a half-digested beermat. Nowadays we're fond
of Gears of War: Judgment for the <a class=" u-underline" data-component="auto-linked-tag" data-link-name="auto-linked-tag" href="http://www.theguardian.com/technology/xbox">Xbox</a>
360, a science-fantasy shooter in which granite-jawed marines scuttle
around blasting hideous cave mutants with chainsaw-guns. It's an
opportunity for Euan to flaunt his own, oddly 80s sense of machismo,
equal parts Steven Seagal and The Village People – he's taken to
somersaulting his character in time to a raucous rendition of Everybody
Mambo. There's nothing in the game's world or fiction that accounts for
this behaviour, of course. It's just his personality at play.<br />
<h2>
<b>No man behind</b></h2>
Another favourite is Left 4 Dead 2
(also on Xbox 360), a brilliant riff on B-movies from Valve Software,
the games industry’s indefatigable pioneer and prankster. Though a world
apart from Timesplitters in most respects – the idea is to carve a path
through hyperactive crowds of Danny Boyle-era zombies, from one
safehouse to the next – Left 4 Dead 2 compares to Free Radical's game in
that in effect it is a personality test. The nature of the threat isn’t
pre-determined but protean, shifting in response to your traits and
tactics.
<br />
<br />
Cower for too long at the mouth of a street, and Valve’s vaunted
“Director”, a bundle of code with a Stanford complex, might sneak a few
grumpy corpses into the road behind you, a none-too-subtle hint that
you’re letting an unseen audience down. Split from the group in a fit of
zeal and you’re asking to be pinioned by an elite nasty like the Hunter
(imagine one of David Cameron’s huggable hoodies, cross-bred with a
panther). Euan gets along famously with Hunters. He’s also
well-acquainted with the Witch, a sinister, weeping apparition who won’t
bother you, providing you don’t bother her. Suffice to say that we
seldom leave a Witch to her own devices, and I'm usually the one who
winds up a broken ruin in the process. <br />
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<figcaption class="caption caption--img caption caption--img" itemprop="description">
Left 4 Dead by Valve – a game about surviving the zombie holocaust, preferably without your brother goading the undead
</figcaption>
</figure>
And yet - my brother has never once abandoned me to my fate. His
delight at leaving me in the lurch is exceeded only by the satisfaction
he seems to feel at being my rescuer: it's another way, I guess, of
refusing to be the kind of individual he's expected to be. <br />
Each of Left 4 Dead’s chapters or “campaigns” concludes with an
all-or-nothing gauntlet run or final stand in the face of overwhelming
odds. You might have to defend a rock stadium while waiting for a rescue
chopper, using concert pyrotechnics to set the undead on fire, or
refuel a car in the middle of an infested shopping mall. We're rubbish
at these sections, but that's OK - dying in Left 4 Dead is often much
more fun than surviving. The point isn’t so much to succeed as to share
the experience of a protracted and hilarious failure, as best-laid plans
fall to the Director’s tricks and only-human feats of incompetence or
treachery.<br />
<h2>
<b>Clegg v sense</b></h2>
Games like Left 4 Dead can be every bit as exhilarating and convivial
as a real-life sport. It's frustrating that so many people continue to
regard them as degrading and desensitising. Parents should “ration” a
child's consumption of “corrosive” videogames, father of three Nick
Clegg <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="https://composer.gutools.co.uk/content/%E2%80%9D">observed on LBC in September</a>,
adding that players “occupy a sort of hermetically sealed world really
of their own, and that can have a very detrimental effect”. The idea of
joining in, much as you'd join your kids for a game of football, doesn't
seem to occur to Clegg – but how are we to lure people out of that
“world”, assuming this is necessary, if not by comprehending what makes
it so enticing? And what possibilities are we dismissing in the process?<br />
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Quantum of Solace – this mediocre James Bond tie-in may have hidden benefits.
</figcaption>
</figure>
My brother has been playing video games for well over a decade. If
this has had “a very detrimental effect” on him, he hides it very well,
though I suppose there is that slightly unnerving fixation with James
Bond. This has been the cause of some strife: I'll travel home for the
weekend armed with a critical darling like Bioshock Infinite - think
Martin Scorcese's Gangs of New York meets David Mitchell's novel Cloud
Atlas - only to discover him tucking into his battered old copy of
Quantum of Solace, a middling adaptation of the Daniel Craig film. I've
hidden the disc on occasion. Not proud.<br />
<h2>
<b>The value of Bond</b></h2>
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My
brother’s dedication to Quantum of Solace may actually have been
constructive, much as I hate to admit it. Years ago, he'd ask me to help
out with the game's number puzzles (hacking into an electronic door
lock, for example) and Quick Time Events - “on rails” sequences that are
shot and edited like the action bits in any garden-variety blockbuster
movie, where you tap buttons on cue to make it through unscathed.
Nowadays, Euan is able to perform these without assistance. Is this
evidence that his time in 007's shoes has honed his reflexes and
improved his numeracy? Possibly. There's <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="https://composer.gutools.co.uk/content/%E2%80%9Dhttp://www.pearsonassessments.com/hai/Images/tmrs/Lit_Review_of_Gaming_in_Education.pdf%E2%80%9C">growing support</a> for the idea that far from damaging youngsters, games can actually aid cognitive development and have educational benefits.<br />
Equipped with tools, objectives and obstacles, a game is analogous to
a classroom, a crucible in which to test out and master all sorts of
principles. That the principles transferred (eg where best to punch a
kangaroo) may not be worth the trouble is no argument against the
medium’s efficacy. Among the organisations that acknowledge this is the
National Security Agency: in <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="https://composer.gutools.co.uk/content/%E2%80%9Dhttp://www.theguardian.com/world/interactive/2013/dec/09/nsa-files-games-virtual-environments-paper-pdf%E2%80%9D">documents</a>
published by the Guardian in November, our friendly neighbourhood G-men
note that both the US army and Lebanese Hezbollah have developed games
for training and recruitment. I like to think that the NSA has a file on
Euan. He could certainly teach them a thing or two about underhand
tactics.<br />
<h2>
<b>Visual learning</b></h2>
It's possible that children with Down's syndrome have more to gain
from “edu-tainment” software than they do traditional teaching methods,
as I learned during a conversation with Gillian Taylor, an occupational
therapist at UK gamer's charity <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="https://composer.gutools.co.uk/content/%E2%80%9Dhttp://www.specialeffect.org.uk/%E2%80%9D">Special Effect</a>.
“People with Down's syndrome are very visual learners,” she tells me.
“So they learn much better from visual materials than auditory materials
or other learning styles. If you think about how much computer games
give you visually, I think that could be a real benefit.” This may be
especially true of touchscreen games, which allow players to meddle with
an image without first mastering a control device.<br />
I'm not trying to claim that every child born with the condition
belongs in a virtual reality booth. In Gillian's view, “people with
Down's syndrome are as different as people generally, in terms of the
spectrum of skills that they have” - some will go to college, like Euan,
others may not, and blanket solutions are of use to nobody. But where a
real classroom may seem threatening to a person who isn’t as literate
or socially adept as his or her peers, games at least offer a controlled
environment in which to hang out and experiment with concepts.<br />
Learning something isn't necessarily the point - success of any kind
is good for you, whether you experience it in the real world or not.
“Motivation can be a problem for people with Down's syndrome,” Gillian
observed. “If they're not getting any success with things, they're not
going to develop the self-esteem, and they're not going to want to try,
and therefore the skills aren't going to build. The right game can offer
the right challenge, enabling them to enjoy success, which in turn
motivates them to progress further.”<br />
<h2>
<b>Freedom and control</b></h2>
The right game can be hard to find, unfortunately, which is why
Special Effect puts on roadshows throughout the UK, where players of all
abilities can try out the charity's colossal library of tailor-made
control devices, many of them based on commercially available hardware,
like Sony's DualShock pad. Examples include a peripheral that allows you
to drag and drop virtual chess pieces with your eyes, and an intricate
device that makes it possible to play a 3D shooter using chin movements,
voice commands and a switch mounted on the side of a chair.<br />
“Our role there is as facilitators to help them experience a range of
games with different speeds, cognitive levels and control
complexities,” says communications chief Mark Saville. “The magic
happens when they experience games that match their abilities.” These
events are also on opportunity for friends and loved ones to experience
these titles; in helping those with disabilities get to grips with a
game, Special Effect is helping to lower the entry threshold across the
board.<br />
Perhaps the leakiest preconception about video games right now is
that they can't be shared - that gaming is an adolescent cult practise,
inaccessible to any except card-carrying enthusiasts. But a world is
only “hermetically sealed” if you insist on being outside it - and
ultimately, the loss is yours. Playing games with my brother has made me
more conscious of his spontaneity, his guile and resourcefulness, his
intellectual independence and irreverence. It’s one of many ways he
reveals himself not as a “disabled” person but simply as his own person,
as hell-bent on deciding his own destiny as anybody else.</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-78169924136496534412015-10-24T07:06:00.000-07:002015-10-24T07:06:03.412-07:00Destiny King's Fall Raid Hard Mode Beaten In Under 90 Minutes<div dir="ltr" style="text-align: left;" trbidi="on">
The new Hard Mode for<a data-ref-id="5000-38799" href="http://www.gamespot.com/destiny/"> Destiny</a>'s
latest raid, King's Fall, opens today. Players will be able to try
their hand at the uber-difficult challenge today, October 23, starting
at 10 AM PDT / 1 PM EDT / 6 PM UK.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3kSZyk8zralBuuJ3DYt4x1U31DsvO1Bl5LKPPvZRocEflEF_wQRYUroHzYgVaGHr5jkmSFOdiDzlJlZ2zoO39wVCsZ8bD9Z8P8xNFPlP3vz6hzdC17fkVtzoQhYscmUEj3boFozogg/s1600/2939210-trailer_destinytakenking_fallraid_20150917.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3kSZyk8zralBuuJ3DYt4x1U31DsvO1Bl5LKPPvZRocEflEF_wQRYUroHzYgVaGHr5jkmSFOdiDzlJlZ2zoO39wVCsZ8bD9Z8P8xNFPlP3vz6hzdC17fkVtzoQhYscmUEj3boFozogg/s320/2939210-trailer_destinytakenking_fallraid_20150917.jpg" width="320" /></a></div>
<br />
As <a data-ref-id="1100-6431459" href="http://www.gamespot.com/articles/destiny-hard-mode-raid-coming-next-week/1100-6431459/">previously stated</a>,
Bungie recommends that the raid be tackled by players with 300-320
Light, and the loot rewards in it will be between 310-320. Watch the
video above to learn more about King's Fall.<br />
Destiny lead
raid designer Gavin Irby was part of the team that crafted the Hard
Mode for King's Fall. Here's what he had to say about what kind of
challenge players can expect.<br />
"This time, we followed a
subtractive approach by building the mechanics early on. For a long
time, we play-tested internally in Hard Mode, treating it as the default
experience. Once we were satisfied, we removed them to arrive at the
Raid you have already played," <a href="https://www.bungie.net/en/News/News?aid=13797" rel="nofollow">he said</a>.<br />
"For
the mechanics themselves, we shied away from simply increasing sandbox
difficulty (not that it won't be harder). You've had time to hone your
strategies and develop a rhythm," Irby added. "Some of you might even be
able to do it backwards, blindfolded, or upside-down. Hard Mode is
going to upset that rhythm. We're going to give you one more plate to
spin, and make you think on your feet."<br />
It certainly
sounds like a challenge, but we'll be surprised if Destiny players don't
beat it in a matter of hours. After all, the regular King's Fall raid
was<a data-ref-id="1100-6430723" href="http://www.gamespot.com/articles/destinys-new-raid-the-games-biggest-ever-has-been-/1100-6430723/"> toppled not long at all after it went live in September</a>.<br />
We'll
update this post to let you know which team was able to beat King's
Fall on Hard Mode and claim the title of world's first.<br />
Bungie
has also stressed that players' raid activity is only considered
officially complete once they leave the area. If you want the "world's
first" title, maybe don't celebrate until <em>after</em> you've returned to orbit. "Kill Oryx and get out of there," Bungie said. "Celebratory dancing could rob you of your glory."</div>
<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.comtag:blogger.com,1999:blog-7173213241213026575.post-83651147451886051512015-10-24T06:59:00.001-07:002015-10-24T06:59:06.950-07:00Assassin's Creed Syndicate<div dir="ltr" style="text-align: left;" trbidi="on">
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<h2>
<b>Assassin's Creed Syndicate</b></h2>
</div>
<br />
After completing my second ghost hunt
with Charles Dickens, I decided it was about time to shut down the last
factory forcing children into labor. As I made my way across
Westminster, zipping between rooftops with my rope launcher, a notice
popped up indicating I was approaching a bounty hunt. The objective was
simple--kill an important member of my rival gang--and I decided the
children could wait a bit longer. I was in and out of the mission in
under a minute after dropping hanging barrels on gang members, throwing
down a smoke bomb and taking out the leader with a gun to the head. I
ziplined out, stopping only once more to change my outfit to one that
held more throwing knives, before dropping by a black market stall for a
refill and dashing towards the factory. The children of London needed
me.<br />
<div dir="ltr">
This is Assassin's Creed Syndicate's
playground. One moment you're free-running through a borough towards
the next story mission, the next you're sneaking through a dilapidated
building picking off criminals as you find yourself irresistibly drawn
to the promise of experience points and in-game cash--not to mention
notoriety among the London underground. The organic way in which
missions and side projects pop up is bolstered by their placement in a
gorgeous rendition of 1868 London, complete with massive factories
spewing smoke into the sky and intricately detailed copies of every
major landmark you can think of--all climbable, of course. Overlaying
all of this is one of the best stories the Assassin's Creed franchise
has told in recent years, featuring dual protagonists that are relatable
and lovable. Occasionally during climbing it can feel like your freedom
of movement is limited, and controls will sometimes sabotage you with
some unwieldiness and counterintuitive button placement. More of the
environment has been made available for you to climb on, and the rope
launcher can attach to nearly all ledges, so these small occurrences of
flying off the rails are inconvenient at worst. But overall combat and
movement feel great, and Assassin's Creed Syndicate's story is charming,
while countless amusements will keep you lost in London for hours.</div>
<div dir="ltr">
Syndicate's story is an intimate, personal tale like that of last year's Assassin's Creed Unity
mixed with older Assassin's Creeds' tendencies to pack in the
historical figures. The modern day elements are more toned down than
they were in previous Assassin games, so much so that they're barely
present. You spend all your time as Jacob and Evie Frye, assassin twins
who come to London in 1868. Under the leadership of Crawford Starrick,
the Templars have a stranglehold on the city, and a sinister gang called
the Blighters run things to their liking.</div>
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Assassin's Creed Syndicate - Cinematic TV Spot</h3>
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Prepare to take back London and rule its criminal underworld in Assassin's Creed Syndicate.</div>
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<figure data-align="left" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954091-acs_sc_68_reviews_gangwarlambeth_1444953338.jpg" data-ratio="0.5625" data-ref-id="1300-2954091" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><img src="http://static5.gamespot.com/uploads/scale_medium/1547/15470456/2954091-acs_sc_68_reviews_gangwarlambeth_1444953338.jpg" /><figcaption>Gang fights are wild, unpredictable, and tons of fun.</figcaption></figure><div dir="ltr">
The
absence of any fiddling around in a present-day timeline is a boon to
Syndicate's story, allowing laser-focus on the 1868 London plot. The
story centers around the politics and policies of Industrial Revolution
London, with Jacob and Evie fighting not only to dismantle the Templar
conspiracy but also to bring justice and refuge to the city's
downtrodden. Jacob and Evie also frequently fight each other, with
disagreements about what it means to be an Assassin forming a tense
undercurrent. Along the way, the two come into contact with a smattering
of historical characters--ranging from Alexander Graham Bell (who gives
the game's best items) to Charles Dickens and Karl Marx--making the
Fryes tangential and sometimes integral to the great successes these
individuals achieved. These interactions fit neatly into Syndicate's
overall flow, and while it does seem like these figures are packed in a
little too tight, the game gives breathing room to each individual
story.</div>
<div dir="ltr">
London feels alive. Towers breathe smoke
into the sky, stations bustle with passengers and passing trains, the
homeless burn fires in trash cans in alleys, and stray cats pause to
look at you while you lie in wait for your target. Bystander AI can be
overdramatic at times, cowering in fear indefinitely after witnessing
you murder someone in front of them, but those visceral reactions are
what make starting fights in public such a delight. You throw a punch in
a marketplace and crowds immediately vacate the area, fleeing from your
wrath. Little boys and women run and scream as you sink your blade in
someone's throat. NPCs also yell at you when you loot bodies, bid you
good-day as you walk by, and make whispered comments to companions about
your looks. And piled on top of it all is a brilliant soundtrack, a
seamless sea of tunes that capture the sadness of the poor and the
determination of the Fryes. In one instance, as you climb a spire to a
viewpoint, a soft soprano-and-string number kicks in, painting a picture
of melancholy for the past and hope for the future. Sights and sounds
combine to create an irresistible portrait of London, and make exploring
for every side quest and collectible an enjoyable experience.</div>
<figure data-align="right" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954092-acs_sc_73_reviews_maxwellroththeatre_1444953343.jpg" data-ratio="0.5625" data-ref-id="1300-2954092" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><img src="http://static1.gamespot.com/uploads/scale_medium/1547/15470456/2954092-acs_sc_73_reviews_maxwellroththeatre_1444953343.jpg" /><figcaption>This doesn't look good at all.</figcaption></figure><div dir="ltr">
Moving
and fighting in London is also a satisfying experience, at least when
controls cooperate. Combat is fluid and simple and relies mostly on the
D-pad, on which directions are mapped to attack, counter, stun and
shoot. If you're quick, you can punch in combos that knock enemies over
and trigger some final execution moves that are brutal and beautiful.
It's undeniably satisfying to chain hits and kills until you're bopping
around between enemies in a gang war, flying along a circle of
combatants and systematically bringing them to their knees in one fell
swoop.</div>
<div dir="ltr">
Free-running follows this same
simplicity; hold down R2 while running and press one button to go up and
another to go down. You can climb pretty much everything in London with
relative ease, with the city's gorgeous details offering compelling
arguments to eschew fast travel. But these controls take some time
getting used to and feel counterintuitive, especially while climbing.
Sometimes you'll kick off a wall when you meant to climb up or go up
when you try to go down; this imprecision has characterized the series
controls from the start. But in Syndicate this imprecision is
infrequent, and while the controls aren't perfect they do feel much
better and more fluid.</div>
<div dir="ltr">
Gone are the days of
snapping to cover and blending into crowds. In Syndicate, a white
"Threat Ring" appears around your assassin when enemies are near.
Markings on the ring show you where enemies are relative to your
position, which is helpful when you're crouching in an area and can't
see much. This tool makes stealth much easier and allowed me to gauge
who to take out first based on how close they were and whether they'd
noticed me. Then you can determine which tools to whip out of your belt,
be it electric bombs or throwing knives. Do I smoke bomb this group and
take out the leader under cover? Or do I just escape to a rooftop and
pick them off one by one with throwing knives? Or better, make them turn
on each other with hallucinogenic darts? The tools at your disposal and
how you combine them is entirely up to you, and Syndicate's mission
design offers ample breathing room to complete each mission in your own
way.</div>
<figure data-align="center" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954097-acs_sc_78_reviews_thedognapper_1444953346.jpg" data-ratio="0.5625" data-ref-id="1300-2954097" data-resize-url="" data-resized="" data-size="large" data-width="1280" style="width: 1280px;"><img class="js-lazy-load-image" data-lazy-load="false" data-src="http://static2.gamespot.com/uploads/scale_super/1547/15470456/2954097-acs_sc_78_reviews_thedognapper_1444953346.jpg" src="http://static2.gamespot.com/uploads/scale_super/1547/15470456/2954097-acs_sc_78_reviews_thedognapper_1444953346.jpg" /><figcaption>The only thing that matters here is that corgi in a purse.</figcaption></figure><div dir="ltr">
I
can recall only using Syndicate's fast travel points three times during
my entire playthrough, because with the rope launcher in your toolbox,
why would you take any other route through London? The setting is so
lovely, and zipping across the city like a Victorian Spider-Man makes
you truly feel like the city's protector, dropping to the streets every
so often to air assassinate someone. In addition to setting up aerial
kills, using the rope launcher instead of fast travel allows you to
organically stumble upon one of London's many sidequests and make a pit
stop for extra cash. Many times, on my way to a story mission, I would
zipline over a side mission and think, "Why the hell not, I'm here!" One
tool helps you traverse, discover, escape, and assassinate. The rope
launcher is the thing this franchise so desperately needed, and now that
it's here I don't ever want to be without it.</div>
<figure data-align="right" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954093-acs_sc_76_reviews_carthighjack_alt-proposal_1444953344.jpg" data-ratio="0.5625" data-ref-id="1300-2954093" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><img class="js-lazy-load-image" data-lazy-load="false" data-src="http://static3.gamespot.com/uploads/scale_medium/1547/15470456/2954093-acs_sc_76_reviews_carthighjack_alt-proposal_1444953344.jpg" src="http://static3.gamespot.com/uploads/scale_medium/1547/15470456/2954093-acs_sc_76_reviews_carthighjack_alt-proposal_1444953344.jpg" /><figcaption>I always feel bad for the horses in these situations.</figcaption></figure><div dir="ltr">
Another
new mechanic is the ability to drive carriages. I found Syndicate's
vehicles relatively easy to handle. You can also do any number of things
with these carriages, including hijacking them for your own purposes
and hiding bodies in them. One string of side missions involved
collecting wanted criminals for a policeman; I would knock them out,
steal a carriage from an unwitting bystander, put the body in the car,
and then drive away. In some instances the rival gang has carts on the
road as well, which can devolve into some hilariously fun Grand Theft
Auto-style chases. You can ram carriages as they ride up next to yours
or climb up onto your own carriage’s roof to engage in fisticuffs with
enemies. Hijacking moving carts is thrilling, and destruction is
encouraged. There's an experience perk you can earn for destroying
street lamps and other public property, so don't be shy about running
people over.</div>
<div dir="ltr">
Combat, grand theft carriage, and
bounties all play into the game's main story, and you'll be tasked with
doing all of these things over the course of Jacob and Evie's
adventures. While you can switch between the twins on the fly when
playing side missions, you'll be locked into playing as a certain twin
for specific story tasks. Each chapter has dedicated objectives for both
Jacob and Evie. Jacob's tasks cause more mayhem and utilize his talent
for close-quarters combat as he seeks to bring justice to London's
underdogs, often resulting in explosions and other destruction. Evie's
missions mostly require sneaking around without being detected. Her
objectives feel closer to the traditional Assassin's Creed story, and
you'll spend time with her doing the order proud while Jacob makes a
mess of everything and invests in creating his own gang, the Rooks.</div>
<figure data-align="right" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954095-acs_sc_77_reviews_kukri_1444953346.jpg" data-ratio="0.5625" data-ref-id="1300-2954095" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><img class="js-lazy-load-image" data-lazy-load="false" data-src="http://static4.gamespot.com/uploads/scale_medium/1547/15470456/2954095-acs_sc_77_reviews_kukri_1444953346.jpg" src="http://static4.gamespot.com/uploads/scale_medium/1547/15470456/2954095-acs_sc_77_reviews_kukri_1444953346.jpg" /><figcaption>"Yes, he's like this all the time."</figcaption></figure><div dir="ltr">
In
addition to differing personalities--with Evie constantly reprimanding
Jacob while he rather humorously bumbles around achieving his squad
goals--the twins have different unique skills that tie into their
interpretation of what it means to be an assassin. Evie's special skills
are stealth-based, with one incredibly useful ability allowing her to
disappear completely while she's standing still in sneak mode. She can
also hold twice as many throwing knives as Jacob and her stealth stats
far exceed her brother's. She'll be the one you take with you on bounty
hunting and liberation missions. Jacob is more suited for gang wars, a
brawler who takes less damage and, with all skills unlocked, can bring
enemies to near-death states quicker. Their differences are noticeable
in gameplay, and rather than have one character you can customize either
way, it's a brilliant touch to have two characters ready and available
for different kinds of missions at any given time.</div>
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I
cannot stress enough how deeply likeable and relatable Jacob and Evie
can be. Evie is serious but sweet, tough in battle but willing to pick
up the scattered papers of a stranger she bumps into on the street. She
acts more like an older sister than a twin, bossing her brother around
and openly deriding his more destructive decisions. Jacob is goofy,
flippant, cheeky, and is more concerned about his gang and toys while
his sister fulfills her oath. He makes fun of Evie's belief in ghosts
and her willingness to help everyone they meet, but under all that snark
it's clear he loves his sister. Their banter is sweet and at times
funny, and while they are two separate entities when it comes to combat,
they truly feel like two parts of the same whole. Their story is a
powerful one, about duty and family, and the ease with which they
communicate and the believability of their relationship showcases the
draw of Syndicate's narrative. Add to this a supporting cast filled with
diverse, equally believable characters, and Syndicate feels a little
bit like being at a party with all of your friends.</div>
<figure data-align="left" data-embed-type="image" data-img-src="http://static1.gamespot.com/uploads/original/1547/15470456/2954096-acs_sc_69_reviews_eviefight_1444953340.jpg" data-ratio="0.5625" data-ref-id="1300-2954096" data-resize-url="" data-resized="" data-size="medium" data-width="480" style="width: 480px;"><img class="js-lazy-load-image" data-lazy-load="false" data-src="http://static5.gamespot.com/uploads/scale_medium/1547/15470456/2954096-acs_sc_69_reviews_eviefight_1444953340.jpg" src="http://static5.gamespot.com/uploads/scale_medium/1547/15470456/2954096-acs_sc_69_reviews_eviefight_1444953340.jpg" /><figcaption>The first rule of fight club is Evie Frye always wins fight club.</figcaption></figure><div dir="ltr">
In
addition to leveling up Jacob and Evie, you can level up their
green-clad gang, the Rooks. I became obsessed with tricking out my gang,
because having strong fighters on the streets mean you'll always have
backup in a fight. Using in-game currency, you can unlock perks for your
gang, such as sturdier carriages and cheap access to hallucinogenic
darts. You can even pay off policeman to turn a blind eye to some of
your illegal activities and assemble an army of children to bring you
crafting items on the streets. Micromanaging your gang is worthwhile
because it completely changes your experience in London. Having this
extra layer to deal with keeps you engaged in activities outside the
main story and is another fun way to leave your mark on the world.</div>
<div dir="ltr">
Syndicate's
story is a riveting tale of compassion and greed, but the mechanics of
its climax don't carry enough urgency and drama. A final boss fight
usually tests the skills you've learned throughout the game, but
Syndicate's is a memorable for the wrong reasons. It's an anticlimactic
scramble through moving environmental obstacles to reach the boss and
trigger a quick time event. This sequence of events happens several
times in order for you to beat the encounter. It's a frustrating setup
that tosses all narrative tension out the window.</div>
But a
disappointing final fight and some control hitches can't diminish the
charms of Assassin's Creed Syndicate. The game is a triumphant return to
form for the franchise, and presents a beautifully structured tale with
heart and soul to spare. Ziplining through London is thrilling, and the
game allows you to organically discover missions and leaves you
open-ended solutions lets you to create a meaningful, personal
experience within its world. Coupled with strong, loveable leads and a
seemingly endless procession of ways to leave your (fictional) mark on
London's history, Assassin's Creed Syndicate is a shining example of
gameplay and storytelling.<br />
</div>
</section>
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</aside>
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<div class="blogger-post-footer">harim soltan, harim sultan,harim soltan3,حريم السلطان الجزء الثالث, مسلسل حريم السلطان الجزء 3 Modifier
</div>Anonymoushttp://www.blogger.com/profile/11379806512887509697noreply@blogger.com