Игровые новости

#0 by bam (♦Aloha Na♦) (0 mesaje) at 2007-05-18 17:53:01 (914 săptămâni în urmă) - [Link]

Aici se discută noutățile din lumea jocurilor digitale.

Dacă aveți o știre proaspătă pe care o doriți să o împărtășiți cu cei din jur, vă rugăm să respectați niște reguli generale.

Reguli privind oformarea unei știri:
- știrea trebuie să fie proaspătă;
- conținutul trebuie să fie plasat în tag-ul spoiler (vezi pagina cu tag-uri). În același mod se procedează și în caz dacă știrea constă doar dintr-un link spre un site video

Resurse

-www.gamemag.ru
-www.games-tv.ru
-www.gamebomb.ru
-www.gamer.ru
-www.gameranx.com
-www.kanobu.ru
-www.gameplay.md
-www.gamespot.com
-www.ign.com
-www.yougamers.com
-www.gamerankings.com
-www.steamgames.com
-www.gamesforwindows.com
-www.worthplaying.com
-www.gamesradar.com
-www.gametrailers.com
-www.gamespy.com
-www.impulsedriven.com
-www.gog.com
-www.shazoo.ru/
-www.gamer.ru
-www.gamerhub.tv
-www.igromania.ru
-www.stopgame.ru/
-www.gamepilot.ru
-www.vg247.com

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Game Awards 2012

Game of the Year

Assassins Creed III

Dishonored

Journey

Mass Effect 3

The Walking Dead: The Game (Winner)

Studio of the Year

343 Industries, Halo 4

Arkane Studios, Dishonored

Gearbox Software, Borderlands 2

Telltale Games, The Walking Dead: The Game (Winner)

Entertainment Weekly and Spike VGA Best Game of the Decade

Batman: Arkham City

BioShock

Half-Life 2 (Winner)

The Legend of Zelda: The Wind Waker

Mass Effect 2

Portal

Red Dead Redemption

Shadow of the Colossus

Wii Sports

World of Warcraft

Best Xbox 360 Game

Assassins Creed III

Borderlands 2

Dishonored

Halo 4 (Winner)

Best PS3 Game

Assassins Creed III

Borderlands 2

Dishonored

Journey (Winner)

Best Wii/Wii U Game

New Super Mario Bros. U (Winner)

The Last Story

Xenoblade Chronicles

ZombiU

Best PC Game

Diablo III

Guild Wars 2

Torchlight II

XCOM: Enemy Unknown (Winner)

Best Shooter

Borderlands 2 (Winner)

Call of Duty: Black Ops II

Halo 4

Max Payne 3

Best Action Adventure Game

Assassins Creed III

Darksiders II

Dishonored (Winner)

Sleeping Dogs

Best RPG

Diablo III

Mass Effect 3 (Winner)

Torchlight II

Xenoblade Chronicles

Best Multi-player Game

Borderlands 2 (Winner)

Call of Duty: Black Ops II

Guild Wars 2

Halo 4

Best Individual Sports Game

Hot Shots Golf: World Invitational

SSX (Winner)

Tiger Woods PGA Tour 13

WWE &#039;13

Best Team Sports Game

FIFA Soccer 13

Madden NFL 13

NBA 2K13 (Winner)

NHL 13

Best Driving Game (TBA)

DiRT: Showdown

F1 2012

Forza Horizon

Need for Speed: Most Wanted (Winner)

Best Song in a Game

&quot;Castle of Glass&quot; by Linkin Park, Medal of Honor: Warfighter

&quot;Cities&quot; by Beck, Sound Shapes (Winner)

&quot;I Was Born For This&quot; by Austin Wintory, Journey

&quot;Tears&quot; by Health, Max Payne 3

Best Original Score

Call of Duty: Black Ops II

Halo 4

Journey (Winner)

Max Payne 3

Best Graphics

Assassin&#039;s Creed III

Dishonored

Halo 4 (Winner)

Journey

Best Independent Game

Dust: An Elysian Tail

Fez

Journey (Winner)

Mark of the Ninja

Best Fighting Game

Dead or Alive 5

Persona 4 Arena (Winner)

Street Fighter X Tekken

Tekken Tag Tournament 2

Best Handheld/Mobile Game

Gravity Rush

LittleBigPlanet PS Vita

New Super Mario Bros. 2

Sound Shapes (Winner)

Best Performance by a Human Female

Emma Stone as Amanda Cartwright, Sleeping Dogs

Jen Taylor as Cortana, Halo 4

Jennifer Hale as Commander Shepard (female version), Mass Effect 3

Melissa Hutchinson as Clementine, The Walking Dead: The Game (Winner)

Best Performance by a Human Male

Dameon Clarke as Handsome Jack, Borderlands 2 (Winner)

Dave Fennoy as Lee Everret, The Walking Dead: The Game

James McCaffrey as Max Payne, Max Payne 3

Nolan North as Captain Martin Walker, Spec Ops: The Line

Best Adapted Video Game

Disney Epic Mickey 2: The Power of Two

Lego Batman 2: DC Super Heroes

The Walking Dead: The Game (Winner)

Transformers: Fall of Cybertron

Best DLC

The Elder Scrolls V: Skyrim - Dawnguard (Winner)

Mass Effect 3 - Leviathan

Borderlands 2 - Mechromancer Pack

Portal 2 - Perpetual Testing Initiative

Best Downloadable Game

Fez

Journey

Sound Shapes

The Walking Dead: The Game (Winner)

Best Social Game

Draw Something

Marvel: Avengers Alliance

SimCity Social

You Don&#039;t Know Jack (Winner)

Most Anticipated Game

BioShock Infinite

Grand Theft Auto V (Winner)

South Park: The Stick of Truth

The Last of Us

Tomb Raider

Character of the Year

Connor Kenway, Assassin&#039;s Creed III

Commander Shepard, Mass Effect 3

Clap Trap, Borderlands 2 (Winner)

Master Chief, Halo 4

Raul Menendez, Call of Duty: Black Ops II

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VGX 2013

Объявлены победители Spike VGX 2013

• Игра года
Grand Theft Auto V

• Студия года
Naughty Dog

• Персонаж(и) года
Близнецы Лютес (BioShock Infinite)

• Лучший шутер
BioShock Infinite

• Лучшая инди-игра
Gone Home

• Лучший экшен
Assassin’s Creed IV: Black Flag

• Лучшая спортивная игра
NBA 2K14

• Лучшая RPG
Ni no Kuni: Wrath of the White Witch

• Лучший файтинг
Injustice: Gods Among Us

• Лучшие гонки
Forza Motorsport 5

• Лучшее DLC
Far Cry 3: Blood Dragon

• Лучшая игра для Xbox 360
Brothers: A Tale of Two Sons

• Лучшая игра для PS3
The Last of Us

• Лучшая игра для Wii U
Super Mario 3D World

• Лучшая игра для PC
Gone Home

• Лучшая игра для портативных консолей
The Legend of Zelda: A Link Between Worlds

• Лучшая игра для мобильных платформ
Plants vs. Zombies 2

• Лучшая казуальная игра
Animal Crossing: New Leaf

• Лучший актер озвучения
Трой Бейкер (Джоэл из The Last of Us)

• Лучшая актриса озвучения
Эшли Джонсон (Элли из The Last of Us)

• Лучший саундтрек
Grand Theft Auto V

• Лучшая музыкальная композиция в игре
“Will the Circle be Unbroken” — Courtnee Draper & Troy Baker (BioShock Infinite)

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Editat de către bam la 2014-01-20 14:14:26

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1 2 3 4 5 6 7 8 9 10 ... 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 ... 552 553 554 555 556 557 558 559 560 561
<< Precedenta Următoarea >>

#701 by JRocker (性交) (0 mesaje) at 2008-01-11 16:08:27 (880 săptămâni în urmă) - [Link]

#699 BlackCross, fn.. so gasit cel mai ne noob aici...

#700 m000rfik, aha dar compania ast6a inka nu are nici un joc normla..

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#702 by BlackCross

(Raging Lunacy) (0 mesaje) at 2008-01-11 16:17:45 (880 săptămâni în urmă) - [Link]

#701 JRocker,

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#703 by AsAsIN (Boats 'n Hoes) (0 mesaje) at 2008-01-11 16:23:25 (880 săptămâni în urmă) - [Link]

#700 m000rfik, +1

#699 BlackCross, "... Yey for lego pr0n! ..." - :sarcastic:

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#704 by JRocker (性交) (0 mesaje) at 2008-01-11 16:30:47 (880 săptămâni în urmă) - [Link]

#702 BlackCross, :o)

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#705 by BlackCross

(Raging Lunacy) (0 mesaje) at 2008-01-11 16:33:58 (880 săptămâni în urmă) - [Link]

#704 JRocker,

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#706 by 916 (Power User) (0 mesaje) at 2008-01-11 17:37:37 (880 săptămâni în urmă) - [Link]

#700 m000rfik, "... grafica rupe ..." - eu tot aşă am spus... da cînd m-am uitat mai atent la case :ras:

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#707 by m000rfik (User) (0 mesaje) at 2008-01-11 17:49:39 (880 săptămâni în urmă) - [Link]

#706 916, da,casele is con4enie,mai ales in screenu 4

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#708 by AsAsIN (Boats 'n Hoes) (0 mesaje) at 2008-01-11 17:55:40 (880 săptămâni în urmă) - [Link]

#706 916, "... case ..." - cand spui "case" ai in vedere 'case de locuit" ? ori sensul in engleza ?

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#709 by 916 (Power User) (0 mesaje) at 2008-01-11 18:04:06 (880 săptămâni în urmă) - [Link]

#708 AsAsIN, da, case de locuit

#707 m000rfik, +1

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#710 by 916 (Power User) (0 mesaje) at 2008-01-11 18:04:07 (880 săptămâni în urmă) - [Link]

sorry, post dublu

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#711 by AsAsIN (Boats 'n Hoes) (0 mesaje) at 2008-01-11 18:33:28 (880 săptămâni în urmă) - [Link]

#709 916,thx

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#712 by 916 (Power User) (0 mesaje) at 2008-01-11 22:34:45 (880 săptămâni în urmă) - [Link]

yay! A ieşit!

Sam and Max episode 202: Moai Better Blues

http://www.telltalegames.com/samandmax/moaibetterblues

:ae:

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#713 by arel (User) (0 mesaje) at 2008-01-13 10:42:20 (880 săptămâni în urmă) - [Link]

#705 BlackCross, :rofl:

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#714 by DarkShadow (Power User) (0 mesaje) at 2008-01-15 13:18:45 (880 săptămâni în urmă) - [Link]

#702 BlackCross,

#705 BlackCross, Bravo ai rupt :subscaun:

, mi-am închipuit-o cum sună vocal ceia ce spun personajele date :punish:

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#715 by regnumekal (User) (0 mesaje) at 2008-01-15 15:09:16 (880 săptămâni în urmă) - [Link]

The Crossing
Genre: Fantasy First-Person Shooter
Publisher: Valve Software
Developer: Arkane Studios
Platforms: PC Xbox 360
Release Date: TBA
Official Site: http://www.arkane-studios.com/en/the-crossing.php
Universe: ---

Unmistakably Source-made, the Paris slum onscreen says "working-class commune" and "French civil unrest." Flying in the face of American imagination (in which bicycles, baguettes, and La Tour Eiffel figure first), it hints at high unemployment, a disastrously declining birthrate, police harassment, and anxiety over the nation's need for immigrant labor. As with Half-Life 2's City 17--also the work of The Crossing art director Viktor Antonov--the location inscribes its history on facade and face alike.

The pair of player-controlled IBAT (International Bureau of Antiterrorism) troopers on the scene isn't at home here. If the boy who turns tail at their arrival doesn't say so, the comic-book insurgents down the street do.

"My only close-to-criminal record is a Michael Jackson joint."

Say what? Something screwier: Two of the agitators start shooting, then retreat into tenements to reload in a way A.I. actors seldom do. During their diversion, the third waits, watching IBAT inch toward the two inside. Their backs turned to him, he tiptoes in to pistol-whip one from behind, and squat, stand, squat, stand over the prone body. Tea-bagging bots?

While player two works out that tactics snuffed his partner (as opposed to a presto, offscreen spawn-in), he's thrown for one last loop. Dropping down from the slum's low skyline, a Techno-Knight Templar in mailcoat, helm, Holy Cross--the whole 13th-century works--impales the third thug.

Arkane Studios' The Crossing isn't what it seems, alternate universes and A.I. that isn't A.I. included. "A.I. is stupid. Multiplayer is meaningless," says producer Raphaél Colantonio, pegging twin problems he's wrangled with for three years--a predicament whose unraveling requires the minting of new modes of play. "By stupid, I mean that no matter how capable artificial intelligence is, it can't compare to humans. How do you model believable behavior, simulate speech and moment-tomoment unpredictability?" Colantonio says. "As for multiplayer skirmishes, they're terrific--although always abstracted. You know, you do these things over and over again, and yet, aside from winning matches, there's no direct emotional involvement." The Crossing's crossover fix: Merge single- and multiplayer, leveraging one's strength to support the other's weakness, and vice versa. Colantonio calls it "cross-play."

The ramifications ought to--aha!--reveal themselves. Colantonio gives the gist, just in case: "Say you're playing the storycentric campaign in Half-Life, or what have you. In order to move on, you must escape in a helicopter. Here, other players, as opposed to A.I. actors, are interested in supporting you, seeing you safely through. Then there are people playing for rank and recognition who want to prevent your progress. So..." But, this being the one occasion on which he's presented The Crossing and its systemic convolutions to the public, Colantonio wants to back up, disclose "where" and "why" before demonstrating, in real detail, "how."

THE SECOND ENTENDRE (IN THE CROSSING'S TITLE)
Victor Antonov not only thinks videogames need another ZIP code, he's founded a studio with toptalent French animators and former Universal and Disney designers to zone one. "Everybody can go big with graphics nowadays," he says. "What makes a great game world for me is context and history. The world itself is more than a presentation package for play; it's a character." From his point of view, cut-and-paste space stations and ready-made moonscapes sit beside L.A. and NYC as tried-and-tired backdrops, graveyards of deadend game design. Perhaps pride has its part in the Frenchman's preferences, too: "Eighty million to 100 million people visit Paris per year. It's the most-visited place on earth, and it's very accessible. At the same time, it's a grand architectural treasure that videogames have overlooked." So Paris it is, although its portraits here reflect the eyes envisioning them in the way that Antonov's City 17, too, infused Eastern Europe with the artist's imprint.

The City of Light we see when The Crossing starts is a cordoned slum, a down-at-the-heel complex of squatters and nonexistent social support far from postcard Paris. Neither Antonov nor the segment we watch elaborates on the nature of the no-go zone other than to explain that bedlam follows the failure of the French government. Furthermore, The Crossing's speculative fiction posits parallel universes, one of which is on a timeline concurrent with our own until 1307, when, instead of disbanding under papal decree, as happened in our history, the Knights Templar assume control of the crown. Emissaries of a Christian military order, they somehow trek from their autocratic side of the coin to our lawless one on the reverse. Later, they enlist players (i.e., you) to dimension-hop home for still unspecified causes (i.e., Arkane isn't saying).

CROSS-PLAY UNCROSSED

Solo-, mutli-, cross-play--confused? The Crossing's untried modes aren't all complexity all the time. In the simplest sense, story missions are single-player shooting with an exception: naturally intelligent, people opponents take the place of A.I., if and when you want. So-called skirmish maps, on the other hand, are harder to wrap your head around in that their context and conventions kaleidoscope to accommodate the kinds of players playing. In milquetoast multiplayer mode, skirmishes pit two more or less symmetrical parties against one another, much like Counter-Strike or Day of Defeat. So far, fine. However, The Crossing also iterates on and integrates skirmishes into its solo/co-op content, and here's where the intricacy occurs.

According to Colantonio, "Once one story mission--in a campaign's cycle of story and skirmish maps--is complete, our servers select an appropriate match (according to criteria including difficulty setting, ping, language preference, and so on) and place story players in the queue for applicable skirmish maps." Conversely, the system explains to skirmishers that story players (or Elite soldiers) are now entering the next round--in which case, the server may (or may not) reassign specific skirmisher roles according to narrative need. For instance, it's possible that the skirmishers, who were competing as cops and thugs in two teams of 10, become one 20-man IBAT brigade charged with preventing the pair of Elites from accessing a control center. Meanwhile, another map might maintain two skirmisher teams: one to assist the Elites, one to assault them.

We diagram the dovetail with a sample scenario:

comsat, involves breaking into a water-treatment plant's subtunnels to obtain and transport one of the Order's pneumatic drills via He-V exosuit (see: Aliens' Caterpillar power loader). Team IBAT's objective is to either a) filch the He-V and use it to batter down the Templar bunker's doors, or b) assassinate both Templar Elites within any 30-second window. Team victory nets points in The Crossing's ranking/promotion system, and players earn additional bonuses for personally besting Elites. The clock marks 15 minutes and ticking.

00:15: X and Y dash as a sniper fires from a nearby balcony. Y takes cover beside a car and notices more black-uniformed IBATs working the west perimeter. Reluctant to attack the Templars head on, they hide among a parking garage's concrete columns, taking potshots. Seeing the sniper relocate to a new position on an overpass, X boomerangs his blade but misses. Y's Templar tech then takes him out with a single shot.

01:00: While X proceeds to punch in the treatment facility key code, Y runs interference, attaching his grappling hook to a girder and mousing over an IBAT, killing him midmotion. He, too, is shot in the process, but his shields save him. Out of ammo, he continues fighting with the springloaded saber linked to his forearm.

02:00: X powers up the He-V, but it can't shoot while carrying the pneumatic device in its massive metal claws, so Y provides cover. All of a sudden, the drill drops and X dies. Y sees an IBAT in jetpack and ink-black armor zipping above, but his screen says player "Z"--not the up-ranked, upgraded officer in the air--sniped his partner.

02:20: As X sits out a 30-second respawn, skirmishers in Templar insignia arrive and attack the officer who's hijacked the He-V.

"When constructing Half-Life 2's City 17, we looked back a hundred years, built layered architecture, beginning at the turn of the 20th century, and then accounting for the '30s, the Communist era, and alien invasion after it. Basically, the environment holds its own history, and by being there, you become aware of what happened before," Antonov says. "If, for instance, World War I hadn't happened, you'd see more metal buildings in Paris, since steel production went to tank- and bomb-building when the war started. So The Crossing is an interesting exercise, because this incident changed the world 600 years ago in the 14th century. France becomes a Crusading country. The Renaissance never happens, and European history is rerouted. That's ambitious."

Antonov is on top of it, tweaking Roman-rooted restraint into Gothic density, turning neoclassical architecture clustered and pointy. The trick is to leave enough underlying elements intact to foster some recognition even as newly introduced material surprises. Take smokestacks, for instance--typically Parisian. According to Antonov, "they're a great visual theme, and here they're growing into Gothic, monumental masses that suggest preeminent steam technology."

Antonov is absorbed in the videogame's vision of "our" Paris as well. "The riots broke out shortly after we drafted the design document," he says, referring to the civil unrest that followed the fatal electrocution of two teens at a Clichy-sous-Bois power substation in 2005. "I called Rapha?l to say, .Hey, this is happening in our story, too,' and so we went to Bobigny and took footage of torched cars. The tie with what's happening in Paris now is definitely intentional. You cited S.T.A.L.K.E.R. and its context in Chernobyl, which is similar in that that team is Ukrainian and is using the game medium to express its experience with what's happened there."

That said, although The Crossing proposes an orderly Christian theocracy in one world and holds it up against an anarchic Paris in our own, Antonov underscores that this isn't the wishful thinking of reactionaries who see the riots as rooted in Islam rather than poverty. "No, no, this has nothing to do with nostalgia for Napoleon and French power," he says. "Oppressors, as in Half-Life 2, are often Big Brother.like. This is the complete opposite: a country in chaos. We see this with weak governments in Somalia, in Afghanistan. For contrast's sake, we create a counterbalance between chaos and a belligerent regime--two dystopian takes on one country. We're dodging religion; we're not dealing with that."

THE BEST OF BOTH SINGLE-PLAYER AND MULTIPLAYER SCENARIOS
If The Crossing's worlds stand apart from others we've played in, so too the ways we play in them. "In traditional FPSes, you try the story first, finish it, and move on to multiplayer matches with people on separate servers," Colantonio says. "OK, so perhaps some play multiplayer first&. Either way, they're separate entities. In The Crossing, and in cross-player, we support pools of story players and pools of what we call "skirmish players." Skirmishers play on skirmish servers, over and over again in short, 10- to 15-minute matches. Meanwhile, story players--co-op or solo--tackle missions until, at some point, they cross over and enter a skirmish. Suddenly, skirmishers switch to one of several possible objectives that help or hinder the story players' progress." (See "Crossplay Uncrossed," above.)

In addition, skirmishers are also able to roleplay mercenaries and maraud story missions by occupying slots ordinarily set aside for A.I.s. Think of the Matrix movies, with Agent Smith.like mercs possessing peons as soon as peons spot players. "What happens," says Colantonio, "is that we use humans as fodder and hopefully keep everybody happy. Everyone has a unique experience every time--that's the point of it."

Low-level variability (as opposed to a videogame's unbending narrative backbone) defined much of Arkane's direction in its fantasy FPS Dark Messiah of Might and Magic. Colantonio argues that, if anything, that flexibility means more in the face of naturally intelligent challengers. "We're a system-oriented team," he says. "Instead of scripting this, that, and the other thing, we want to simulate it. Every entity responds to its own set of rules--buoyancy, flammability, [and so on]--and NPCs can interact with what you throw aside." In other words, actions trigger chain reactions in ways that reassure you you're an agent in a real world and not the central spectator of a recording.

Similarly, player traffic flows across networked paths, nearer in layout to an ant colony than a linear treasure map, and in ways that support multiple play styles. Colantonio wants you to "express yourself as a gamer" and is going all out to give you the tools to do so. "Conservative players," he says, "sometimes want to fight from afar or try to set traps, while others prefer frontal confrontation. Say I'm not the best player, but I'm smart, and so with trip wires and whatnot, I can counter raw reflexes. Or maybe I'm more mobile and get around with a grappling hook. We're pushing body awareness well beyond what we did with it in Dark Messiah--because your whole body is being rendered, you connect with the world better; you see your bulk tugging as the rope tightens, and again as it absorbs impact on rocky touchdowns."

DESTINED TO DIE
That "story players" must complete missions necessarily constrains The Crossing--should bit players' odds against a protagonist even approach a fair 50-50, stalemate and narrative stuttering inevitably ensue. The "good" guys have got to win. And yet this game demands we take turns playing the dedicated loser's part. You have to ask, who's trading skyhooks, boomerang blades, and springpowered pikes (a story player's Templar tech after siding with the Order) for five-and-dime ski masks, the quick for the dead? After all, designers such as Valve's own Robin Walker define A.I.'s duty as "live long enough to die deliberately."

Colantonio confirms that the die is loaded, but he maintains it doesn't matter. Look at live-action role playing (or LARPing), a kind of pajama-clad Dungeons & Dragons played in open air with latex and closed-cell foam swords. "People happily put on the orc mask, pretend to have fewer hit points than the heroes, and have fun. Try it and see," he says. (Perhaps The Crossing will offer role-playing servers in which sticklers stay in character.) Our willingness to get dressed up to get beat down notwithstanding, Arkane's also grooming players for these positions ("non-nonplayable characters," Colantonio quips) with carrot psychology: Simple participation nets points redeemable in skirmishes, and success in spite of the odds pays big. Trouble is, The Crossing is so far away from its scheduled 2008 release that Arkane has neither clinched unlocks outside of an IBAT jetpack (the studio's answer to the Templar skyhook), nor will it speculate out loud on ideas in development.

Moreover, Arkane argues (and we agree) that multiplay is, was, and always will be fundamentally funny. ("Place 20 people together in a game, give them all guns, and try telling them to stay serious; it doesn't work that way," as Walker once put it.) When buddies spawn in and start up a "Billie Jean" dance routine, guns wagging without firing, you roll a frag between them and get going. "It's the beauty of online gaming," Colantonio laughs. "Loaded moments like this are one-of-a-kind; they belong to you as a gamer."

"The contrast between a grand backstory and goofy stuff is cool," Antonov agrees. "We embrace peculiarity. We enjoy peculiarities these days."

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#716 by BlackCross

(Raging Lunacy) (0 mesaje) at 2008-01-15 15:13:39 (880 săptămâni în urmă) - [Link]

Looks promising...

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#717 by Speedy (Căpăreţul fără Cal) (1 mesaje) at 2008-01-15 15:13:54 (880 săptămâni în urmă) - [Link]

#715 regnumekal, O zis so tinem bine :lol:

Imi place screenul 4

,daca joci dupa ala din aer ap ashtept joaca cu nerabdare,dar nu cred.Asha? :-|

#716 BlackCross, +1.I think so 2

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#718 by regnumekal (User) (0 mesaje) at 2008-01-15 15:15:34 (880 săptămâni în urmă) - [Link]

#717 Speedy, "... Imi place scrrenul 4 ,daca joci dupa ala din aer ap ashtept joaca cu nerabdare,dar nu cred ..." - Cum nu crezi? Templierii se pot deplasa ca si acela din Bionic Commando.

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#719 by Speedy (Căpăreţul fără Cal) (1 mesaje) at 2008-01-15 15:17:42 (880 săptămâni în urmă) - [Link]

#718 regnumekal, Pai daca-i asha ap ii bine,ca ninja ala ma frapat :aikido:

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#720 by m000rfik (User) (0 mesaje) at 2008-01-15 15:52:35 (880 săptămâni în urmă) - [Link]

#715 regnumekal, vreun trailer este?

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#721 by regnumekal (User) (0 mesaje) at 2008-01-15 16:04:20 (880 săptămâni în urmă) - [Link]

#720 m000rfik, http://www.gametrailers.com/player/usermovies/37757.html

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#722 by m000rfik (User) (0 mesaje) at 2008-01-15 16:26:34 (880 săptămâni în urmă) - [Link]

#721 regnumekal, mersi

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#723 by Speedy (Căpăreţul fără Cal) (1 mesaje) at 2008-01-15 16:59:39 (880 săptămâni în urmă) - [Link]

#718 regnumekal, Mam uitat la treiler,joaca o sa rupa topurile :w00t:

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#724 by regnumekal (User) (0 mesaje) at 2008-01-16 19:22:17 (880 săptămâni în urmă) - [Link]

Aggression - Reign Over Europe
Other Names: Aggression: Europe 1914
Genre: Historic Real-Time Strategy
Publisher: Playlogic
Developer: Lesta Studios
Platforms: PC Exclusive
Release Date: Q1 2008
Official Site: http://www.playlogicinternational.com/games/?id=aggression
Universe: ---

What if Britain had invaded Austria and sparked off the First World War? What if they had invented the atomic bomb and used it recklessly in a quest for world domination in the aftermath of the conflict? And what if George V had declared himself an anarchist who then became a spy, surreptitiously dashing from one country to the next ruthlessly assassinating rival leaders?

Aggression: Reign over Europe was originally a Russian title, but developer Playlogic has set about localising the game for Western audiences, with a fresh lick of paint and all-new audio samples. It's a curious mix of tactical strategy combined with RTS elements, taking the player from 1910 through to 1950 with the overall goal being nothing less than global domination. As the game's title suggests, there's little room for negotiation or appeasement here – don't expect to be formulating the Treaty of Versailles, rather prepare for an aggressive all-out assault as you struggle to become the most powerful Empire the world has ever seen.

You'll start with the choice of four countries to achieve your quest with, picking between France, Russia, UK or Germany. Having pledged your allegiance, you'll find yourself on a competently-modelled world map, taking in all of Europe as well as the Northern reaches of Africa and the West of Russia. Around 200 historical characters are at hand to play out your campaign of tyranny, all with their own alliances and clashing ideals. Starting out as Britain, you'll inherit a monarchist state, although you can change your nations alignment between seven different ideologies – just don't expect your monarchist state to accept a shift towards communism overnight.

The leaders themselves act as avatars throughout the tactical strategy elements of the game and have three assignable skill slots. There's a total of 15 talent points to spread out between the three sets, giving a fair set of options to create a unique character. Once the attributes have been set, play on the tactical map is a more up-tempo affair than the usual genre offerings – a streamlined interface and a minimum of pop-up menus ensure that proceedings maintain quite a pace, with the emphasis on keeping the character zipping around the map and attending to affairs.

The RTS element - played out in one of 92 unique cities that doff their cap to their real-life counterparts with recognisable landmarks - is solid if nothing ground-breaking. The basic rules to victory apply here – either capture the bases or aim for total annihilation of the opposing forces. One noticeable feature was the use of real-time physics in the destruction of buildings, which can look pretty spectacular as they crumble under repeated firepower. We were shown the A-bomb - the ultimate piece of fighting technology in the game - in effect, and it was visually impressive, setting off a screen-wide explosion, though utilising one of the most morally reprehensible inventions of the 20th century with such reckless abandon did leave a sour taste in the mouth.

Aggression: Reign over Europe won't get too many PC owners hot under the collar with its mix of genres and over-familiar World War stylings, and is admittedly a little rough around the edges. What is there is competently delivered however, and it may prove an engaging diversion come its release towards the end of Q1.

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#725 by Speedy (Căpăreţul fără Cal) (1 mesaje) at 2008-01-16 20:11:08 (880 săptămâni în urmă) - [Link]

#724 regnumekal, Looks nice.....

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