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Patna, Aug 13 (IANS) "Bhaag Milkha Bhaag", Bollywood's ode to star athlete Milkha Singh, was made tax free by the Bihar government Tuesday.
The decision was taken by the cabinet at a meeting chaired by Chief Minister Nitish Kumar, an official said.
"The move is to provide an opportunity to people to watch this movie, which is about one of our greatest athletes," the official said.
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Race 2 is the sequel to the 2008 hit film, Race.
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After his beloved wife, Sonia (Bipasha Basu) is killed by a henchmen, Ranvir Singh (Saif Ali Khan) vows to avenge her death. Ranvir learns that a billionaire businessman, Arman Malik (John Abraham) is behind the death of Sonia.
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Arman is a ruthless and shrewd businessman who can do anything for money and he cannot tolerate dishonesty in business. How Ranvir beats Arman in his own game and avenges Sonia's death with the help of retired cop Robert D'Costa (Anil Kapoor) and his assistant Cherry (Ameesha Patel) forms the crux of the story.
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Based on a real life group of con artists who pulled off many clever
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The Prince of Persia: Sands of Time trilogy has always been known for
its tight controls and satisfying environmental puzzles set in beautiful
levels. The series' control scheme has served as a model for countless
other games that also feature an acrobatic protagonist like the Prince.
The same great interface remains in the third game of the series, The
Two Thrones. Like the other two games, you'll find yourself wall
running, jumping, flipping, and vaulting your way up fiendishly designed
environmental puzzles, as well as fighting vicious enemies with the
improved combat system introduced in the last game, Warrior Within. The
Prince has a few new tricks up his sleeve as well, but longtime fans of
the series should still feel right at home.
The story of the Sands of Time trilogy began with the prince's army attacking and conquering the capital of the Indian empire. In the midst of the battle, however, an evil vizier caused the release of the sands of time, wreaking havoc over the city and the surrounding countryside. The prince and an Indian princess named Farah battled together to defeat the vizier, bottle up the sands, and restore the world to a normal state. The story continued in Warrior Within, where an embittered Prince set sail for the Island of Time, seeking sanctuary from an unstoppable time creature called the Dahaka who pursued him endlessly because of his part in unleashing the sands of time. There, the Prince battled not only the Dahaka but also Kaileena, the Empress of Time. Fans of the first game felt the series lost a lot of its soul in Warrior Within, as the suddenly cynical Prince was much more arrogant and less likable.
The Two Thrones begins with the Prince returning to Babylon from the Island of Time with the mortal Kaileena as his new lover (this part of the plot may be confusing to those who didn't see the alternate ending of Warrior Within). As they pull in to the harbor at Babylon, the duo finds the city under siege. Their ship is wrecked by the invaders, and Kaileena is captured by the enemies. You quickly find that the vizier is back and responsible for the uprising. He murders Kaileena and unleashes the sands of time upon Babylon, and the Prince must battle to regain his kingdom and avenge Kaileena's death.
But it's not just sand creatures and other bad guys from the vizier's army that the Prince must fight. With the sands of time infecting his soul, the Prince must also battle the whims of his darker, more arrogant side. Throughout the game's long, 12- to 15-hour campaign, the Prince will morph back and forth between his normal self and the Dark Prince. He'll also have internal dialogues between his split personalities, with the original actor from Sands of Time voicing the normal prince, and a new voice actor representing the sneering, more sarcastic Dark Prince. Here, the game almost becomes self-referential in addressing the popular criticism levied against the arrogant Prince from Warrior Within. The internal strife in the schizophrenic Prince's mind forms a compelling part of the storyline in The Two Thrones, especially because both the writing and voice acting are pretty good.
Turning into the Dark Prince isn't just window dressing, though. In gameplay sequences in which the Prince is his evil self, you'll find that you're much more powerful in combat, thanks to a new weapon called the daggertail. The daggertail is a chainlike weapon that can be swung around to attack multiple enemies, or lashed out like a whip. It also comes in handy for swinging across bars or lamp fixtures, kind of like in Bionic Commando. Unfortunately, this added power comes at a price. Much like playing as the sand wraith in Warrior Within, the Dark Prince loses health constantly, and it must be replenished periodically by recovering sand from defeated enemies or from breaking jars or furniture in the environment. Unlike the sand wraith, though, the Dark Prince doesn't get unlimited use of sand powers. The sequences in which you play as the Dark Prince let you be much more aggressive in combat, as health is never really a concern (you basically get recharged fully with each downed enemy), but the puzzle-solving and acrobatic sequences can be stressful because you have a time limit to get from point A to point B. Fighting as the regular Prince is very similar to in the previous two games in the series. You can pick up dropped weapons for use in your offhand, which lets you do more powerful weapon combos against enemies. Or you can vault off walls and poles, and even use the enemies themselves to augment your attacks. The fights are as violent as ever--you can behead or even cut enemies in half with the more powerful moves.
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The story of the Sands of Time trilogy began with the prince's army attacking and conquering the capital of the Indian empire. In the midst of the battle, however, an evil vizier caused the release of the sands of time, wreaking havoc over the city and the surrounding countryside. The prince and an Indian princess named Farah battled together to defeat the vizier, bottle up the sands, and restore the world to a normal state. The story continued in Warrior Within, where an embittered Prince set sail for the Island of Time, seeking sanctuary from an unstoppable time creature called the Dahaka who pursued him endlessly because of his part in unleashing the sands of time. There, the Prince battled not only the Dahaka but also Kaileena, the Empress of Time. Fans of the first game felt the series lost a lot of its soul in Warrior Within, as the suddenly cynical Prince was much more arrogant and less likable.
The Two Thrones begins with the Prince returning to Babylon from the Island of Time with the mortal Kaileena as his new lover (this part of the plot may be confusing to those who didn't see the alternate ending of Warrior Within). As they pull in to the harbor at Babylon, the duo finds the city under siege. Their ship is wrecked by the invaders, and Kaileena is captured by the enemies. You quickly find that the vizier is back and responsible for the uprising. He murders Kaileena and unleashes the sands of time upon Babylon, and the Prince must battle to regain his kingdom and avenge Kaileena's death.
But it's not just sand creatures and other bad guys from the vizier's army that the Prince must fight. With the sands of time infecting his soul, the Prince must also battle the whims of his darker, more arrogant side. Throughout the game's long, 12- to 15-hour campaign, the Prince will morph back and forth between his normal self and the Dark Prince. He'll also have internal dialogues between his split personalities, with the original actor from Sands of Time voicing the normal prince, and a new voice actor representing the sneering, more sarcastic Dark Prince. Here, the game almost becomes self-referential in addressing the popular criticism levied against the arrogant Prince from Warrior Within. The internal strife in the schizophrenic Prince's mind forms a compelling part of the storyline in The Two Thrones, especially because both the writing and voice acting are pretty good.
Turning into the Dark Prince isn't just window dressing, though. In gameplay sequences in which the Prince is his evil self, you'll find that you're much more powerful in combat, thanks to a new weapon called the daggertail. The daggertail is a chainlike weapon that can be swung around to attack multiple enemies, or lashed out like a whip. It also comes in handy for swinging across bars or lamp fixtures, kind of like in Bionic Commando. Unfortunately, this added power comes at a price. Much like playing as the sand wraith in Warrior Within, the Dark Prince loses health constantly, and it must be replenished periodically by recovering sand from defeated enemies or from breaking jars or furniture in the environment. Unlike the sand wraith, though, the Dark Prince doesn't get unlimited use of sand powers. The sequences in which you play as the Dark Prince let you be much more aggressive in combat, as health is never really a concern (you basically get recharged fully with each downed enemy), but the puzzle-solving and acrobatic sequences can be stressful because you have a time limit to get from point A to point B. Fighting as the regular Prince is very similar to in the previous two games in the series. You can pick up dropped weapons for use in your offhand, which lets you do more powerful weapon combos against enemies. Or you can vault off walls and poles, and even use the enemies themselves to augment your attacks. The fights are as violent as ever--you can behead or even cut enemies in half with the more powerful moves.
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No previous experience with the Prince of Persia series is required to
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Prince of Persia: The Sands of Time takes place in a mystical Middle Eastern setting, all bathed in soft, warm light and looking like something straight out of a storybook. You play as a young prince who possesses exceptional athletic and acrobatic skill. Early on in the game, the prince steals the dagger of time, a treasure from a rival nation, as a token for his father the king. When his nation's traitorous vizier compels the prince to use the dagger to unlock another treasure, a huge hourglass, everything goes wrong. The sands from the hourglass blow forth, enveloping the kingdom and turning its guardsmen and citizens into, for lack of a better way to describe it, "sand zombies." The prince, the vizier, and a young woman named Farah are among the only survivors. In the prince's efforts to undo his mistake, he'll join forces with Farah, seek out the hourglass, and confront the vizier. The game's story takes a backseat during most of the game, but it is bookended nicely and is framed as the prince's own retrospection. So, for instance, should the prince fall and die at a certain point during the game, you'll hear him say, as narrator, something like, "No, that's not how it happened." Not only is this an interesting technique, but it compels you to keep pressing on. You'll want to know exactly how his complicated ordeal will unravel.
The prince's new dagger of time has other uses besides causing calamity. It's the key to defeating the evil spread throughout the palace, and it also makes the prince virtually immortal. In most cases, should the prince fall to his death or be slain by a sand creature or a trap, with his last breath, he may use the dagger to "rewind" the course of time to a point prior to the unfortunate incident that would have ended his life. Each time you use this ability, it costs a "sand tank," which you earn a greater quantity of as you get farther into the game, and which you restore by defeating sand creatures. In practice, you won't often run out of sand tanks, but even if you do, you'll restart the prince's story from a recent location.
A highly responsive, very forgiving control scheme further ensures that at no point during Prince of Persia: The Sands of Time will you get particularly stuck, if at all. Though other action adventure games involving a lot of death-defying leaps and other such bravery tend to force the player to perfectly time his or her maneuvers and often force him or her to wrestle with issues concerning the controls or camera perspective, Prince of Persia is set up in such a way that it's remarkably simple to pull off all of the prince's spectacular moves. Also, despite the convincing look of the game's huge environments, the game is completely linear, and the prince's course tends to be very clear. Doors will slam shut behind him, forcing him to press onward, and each time you enter a new area, you'll see a quick fly-through showing where it is you're trying to go and what it is that stands between you and that goal. Additionally, at each of the game's frequent save points, you'll see a "vision" of what lies ahead--a quick sepia-toned montage of the trials and tribulations to come in the next area. You'll soon discover that this is basically a built-in hint system. Should you ever get stuck, just head back to a save point, watch the "vision" again, and you'll probably figure out what you're supposed to be doing.
The prince has a great variety of really impressive moves at his disposal. Like a Mid-Eastern Spider-Man, he can defy gravity to a certain extent, by triangle-jumping from wall to wall, running horizontally along vertical surfaces, balancing on narrow ledges, swinging wildly from ropes or horizontal bars, jumping from pillar to pillar, and more. He's truly the most acrobatic character in a game, to date, and executing his moves is simple and even intuitive. The prince can't be made to accidentally fall; he'll automatically grab the ledge if you walk him off of one, and you can hang on indefinitely. A separate button is used for pulling yourself up as opposed to letting go, so there's no worry of accidentally dropping even when you seem to be hanging on for dear life. And, even when you're balancing on a narrow rail thousands of feet above the ground, should you lose your balance and tip over, you'll always catch the ledge and can pull yourself right back up. All this is maybe a little too convenient, but at least it means you'll be forging ahead rather than constantly tumbling into pits.
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Prince of Persia: The Sands of Time takes place in a mystical Middle Eastern setting, all bathed in soft, warm light and looking like something straight out of a storybook. You play as a young prince who possesses exceptional athletic and acrobatic skill. Early on in the game, the prince steals the dagger of time, a treasure from a rival nation, as a token for his father the king. When his nation's traitorous vizier compels the prince to use the dagger to unlock another treasure, a huge hourglass, everything goes wrong. The sands from the hourglass blow forth, enveloping the kingdom and turning its guardsmen and citizens into, for lack of a better way to describe it, "sand zombies." The prince, the vizier, and a young woman named Farah are among the only survivors. In the prince's efforts to undo his mistake, he'll join forces with Farah, seek out the hourglass, and confront the vizier. The game's story takes a backseat during most of the game, but it is bookended nicely and is framed as the prince's own retrospection. So, for instance, should the prince fall and die at a certain point during the game, you'll hear him say, as narrator, something like, "No, that's not how it happened." Not only is this an interesting technique, but it compels you to keep pressing on. You'll want to know exactly how his complicated ordeal will unravel.
The prince's new dagger of time has other uses besides causing calamity. It's the key to defeating the evil spread throughout the palace, and it also makes the prince virtually immortal. In most cases, should the prince fall to his death or be slain by a sand creature or a trap, with his last breath, he may use the dagger to "rewind" the course of time to a point prior to the unfortunate incident that would have ended his life. Each time you use this ability, it costs a "sand tank," which you earn a greater quantity of as you get farther into the game, and which you restore by defeating sand creatures. In practice, you won't often run out of sand tanks, but even if you do, you'll restart the prince's story from a recent location.
A highly responsive, very forgiving control scheme further ensures that at no point during Prince of Persia: The Sands of Time will you get particularly stuck, if at all. Though other action adventure games involving a lot of death-defying leaps and other such bravery tend to force the player to perfectly time his or her maneuvers and often force him or her to wrestle with issues concerning the controls or camera perspective, Prince of Persia is set up in such a way that it's remarkably simple to pull off all of the prince's spectacular moves. Also, despite the convincing look of the game's huge environments, the game is completely linear, and the prince's course tends to be very clear. Doors will slam shut behind him, forcing him to press onward, and each time you enter a new area, you'll see a quick fly-through showing where it is you're trying to go and what it is that stands between you and that goal. Additionally, at each of the game's frequent save points, you'll see a "vision" of what lies ahead--a quick sepia-toned montage of the trials and tribulations to come in the next area. You'll soon discover that this is basically a built-in hint system. Should you ever get stuck, just head back to a save point, watch the "vision" again, and you'll probably figure out what you're supposed to be doing.
The prince has a great variety of really impressive moves at his disposal. Like a Mid-Eastern Spider-Man, he can defy gravity to a certain extent, by triangle-jumping from wall to wall, running horizontally along vertical surfaces, balancing on narrow ledges, swinging wildly from ropes or horizontal bars, jumping from pillar to pillar, and more. He's truly the most acrobatic character in a game, to date, and executing his moves is simple and even intuitive. The prince can't be made to accidentally fall; he'll automatically grab the ledge if you walk him off of one, and you can hang on indefinitely. A separate button is used for pulling yourself up as opposed to letting go, so there's no worry of accidentally dropping even when you seem to be hanging on for dear life. And, even when you're balancing on a narrow rail thousands of feet above the ground, should you lose your balance and tip over, you'll always catch the ledge and can pull yourself right back up. All this is maybe a little too convenient, but at least it means you'll be forging ahead rather than constantly tumbling into pits.
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Explosive chickens, adorable as they are, would be pointless without big buildings to topple, and Angry Birds provides more than 200 of them, with more added all the time. You can thoroughly demolish anything from stone castles to glass houses as you punish those evil, egg-stealing pigs.
To play, you simply load up a chicken in your slingshot, pull back while setting your angle, and let go to start the destruction. Angry Birds' gameplay is incredibly easy to understand, and the visual payoff for blowing stuff up is consistently impressive. Blue chickens split up in midair for a spread effect; heavy bomb chickens explode and send structures flying; and egg-laying hens let you deliver a yolky payload directly below.
You always receive the chickens in a particular order, which diminishes some of the strategy. Even though some chickens can be used to set up chain reactions, like using a burrowing hen to soften up a building's stone exterior and then following up with a ticking explosive chicken to blast out the walls--you don't get to do this if you don't get the chickens in this order. Although you might fling your chickens in the same spot each time, the game's sensitive physics system usually gives different results. It's generally impossible to re-create specific trajectories and reactions, so there's some luck involved where obtaining a high score (and a full three-star rating) is concerned. There aren't really any tangible benefits to completing every mission with a three-star score, besides boasting about your score on the online leaderboards, anyway. Angry Birds has some minor issues, but most of the time, you won't notice because you'll be too busy trying to squish pigs and make full use of your chicken arsenal. The game's weapons, physics, and varied levels are really quite excellent, and they make this military-farm-complex a whole lot of fun.
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Gameplay is divided into two portions: base management and combat scenarios. Near the beginning of the game, you select a location for your base of operations from one of several possibilities. The choices are more limited than the ones in the original X-COM, and this is the only base you manage through the course of the game. If you're a fan of the original, being limited to a single base might seem cause for concern, as might the subsequent loss of the oft-challenging base invasions. It may not share the full breadth of the game that spawned the franchise, but it would be difficult to accuse Enemy Unknown of "dumbing down" the core gameplay. Nevertheless, if you crave a relentless challenge (if not quite as relentless as the nail-biting X-COM: Terror From the Deep), you should play on classic difficulty, rather than the default difficulty level.
And so there are some changes to adjust to, but once Enemy Unknown is in full swing, you will be enthralled by its turn-based combat missions. Upon learning of an alien threat, you select units from your barracks to fill out your squad, and you are whisked to the point of contact. You eventually command up to six squad members--and in time, you might replace them with robotic SHIV units--but even in the early hours, the eerie atmosphere and faint sounds of skittering alien feet get you immediately invested. Upon discovery, the aliens are introduced with a burst of discordant music and a close-up of their ugly faces, and thus the stage is set for battle.
In XCOM: Enemy Unknown, victory is sweet--but it's so much sweeter when it arrives after a heart-wrenching standoff. With each turn, the newest entry in this beloved strategy series heightens the sense of tension, and each defeat of a hovering alien craft thus becomes cause for celebration. But don't get too intoxicated by the faint scent of triumph: nothing is certain until you've ripped your last enemy to shreds. Getting cocky and rushing ahead is a fool's strategy, and until the alien threat is eliminated, your guard must remain up. n XCOM: Enemy Unknown, victory is sweet--but it's so much sweeter when it arrives after a heart-wrenching standoff. With each turn, the newest entry in this beloved strategy series heightens the sense of tension, and each defeat of a hovering alien craft thus becomes cause for celebration. But don't get too intoxicated by the faint scent of triumph: nothing is certain until you've ripped your last enemy to shreds. Getting cocky and rushing ahead is a fool's strategy, and until the alien threat is eliminated, your guard must remain up.
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Creative Assembly’s demo of Total War: Rome IIUsing these deployables to repel attackers isn’t as easy as it
sounds. “If you place them in the wrong place, they’ll be totally
useless to you,” Ferguson said. “It relies on a certain amount of common
sense from the player.” He also described how using some elements can
backfire on the player, citing how war elephants can run amok. “They go
completely out of control but get much tougher,” he said. “The result of
that is that they can smash through not only the enemy units, but yours
as well. And you have to choose if you want to destroy them or not.”
In the case of the flaming boulders, they weren’t always effective. While some crushed the attacking Roman troops, others veered off course down the hillside. But when they worked, they did some serious damage.
More victory conditions
While past entries of Total War have had rigid victory conditions, Rome II will feature three distinct ways to win: military, economic and cultural victories. Any of the three can be achieved on the fly, giving some players the chance to switch up tactics depending on how the ages have treated their empire.
“These aren’t picked from the start,” Starr said. “There’s no pressure. No one ever told Rome, ‘Hey, you only have 200 years. Get to work.’”he victory options mean more opportunities for the game to fit a specific player’s style. Some players will min/max their way to an economic victory, assuming everything goes their way. In other cases, Ferguson says, the additional victory options will help a player who may feel stuck because of forgotten victory requirements. Trying to control the most territory, but forgot about an obscure island? You may not have to start over if your cultural influence is great enough. Another element that can affect your victory is the optional Realism mode, where players will be unable to reload save games. Realism mode also limits certain Battle mode user interface elements, like details on enemy units or their location.
Political scheming
Since Rome II is recreating the feeling of running the Roman empire, adding a level of political influence (or political backstabbing) sounds natural. Each faction will have a number of political parties that players can choose to deal with. Rome, for example, will have three families looking to exert influence, as well as the senate with its own agenda. Using members of these parties in your battles will add further power not just to the unit, but to the political party as well. Players can balance this political ca“The balance in political power is constantly shifting,” Starr said. “If there’s an imbalance, whether you become too powerful or too weak, you’ll find yourself in a civil war.” And for the other factions, that political balancing act means trying to keep the power you have, without having another group overthrow you. Players can also spend this political capital to adopt powerful generals into the family, or marry off children to appease groups that are growing dangerously close to influential. Ferguson says that the political system won’t feel like a micromanaging mess, but that the interface will alert you to political events and let you decide to deal with them or not.
pital between the different families or choose to favor their own—with all of the consequences that may bring. left us wanting more. Large-scale battles over huge landscapes, powered by an overhauled campaign system, are a given for the sequel to Rome: Total War. But the devil’s in the details: Here are the three new mechanics in Rome II that got us eager to play.
Defensive deployables
The battle I witnessed pitted Caesar’s Roman army against the Egyptians, who held the high ground. One tactic the Egyptian army employed was flaming boulders, which were rolled downhill to decimate the Roman legionnaires. These are one of many defensive deployables Creative Assembly has added to help defending armies challenge aggressors. I spoke with Jamie Ferguson (lead battle designer) and Dominique Starr (campaign designer) from Creative Assembly, and between them I heard about caches of poison arrows, stakes that impale cavalry, sharp stones to stall enemy advances and hidden fire pits that light front-line assault troops ablaze.
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- Complete support for RAR (WinRAR native conversion format) and ZIP archives, and unpacking of ARJ, LZH, TAR, GZ, ACE, UUE, BZ2, JAR, ISO, EXE, 7z, Z, and xz archives.
- Multithreaded compression
- The ability to create self-extracting and multi-volume (split) archives.
- Data redundancy is provided via recovery records and recovery volumes, allowing reconstruction of damaged archives.
- Support for advanced NTFS file system options and Unicode in file names.
- Optional archive encryption using AES (Advanced Encryption Standard) with a 256-bit key.
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Sunday 21 July 2013
Call of juarez gunslinger pc game download free full version
With the shooting displaying such finesse, it's a shame that the story doesn't quite reach the same levels of quality. But that's not to say it's entirely without merit. There are moments when it's deliciously sharp and witty, its tongue firmly in cheek as narrator and protagonist Silas Greaves tells of his adventures through the Old West via a series of flashbacks, rewriting history in the progress. Famous outlaws like Butch Cassidy, the Sundance Kid, and Billy the Kid make appearances, and sometimes disappearances too, as Greaves forgets parts of his stories and throws outlaws in and out of each of the short levels at will. There are even a few nods to the dumbness of video game mechanics that raise a chuckle and let you know that Gunslinger isn't taking itself too seriously.
Outside of those cheeky moments, some crisp animated cutscenes, and the hearty Southern drawl of Greaves, the story offers little in the way of surprises, building as it does to a predictable conclusion. Still, the onus here is on the shooting, and Gunslinger is an undoubted success in that regard. Each level is constructed like an old-school pop-up shooting gallery, with crazed cowboys aplenty for you to take aim at. The use of cover and height around each level is impressive, not because it's particularly sophisticated, but because it gels so well with the fast-paced shooting. You're constantly kept on your toes and behind your iron sights as you scan behind every rock and up to every water tower to pick off pesky cowboys.
Do so quickly enough, and you begin to rack up a score multiplier. This proves to be very compelling, and tons of fun. The satisfaction of nailing a 10x multiplier with some wonderfully quick shooting as you dash behind cover cannot be overstated. And Gunslinger just gets better with each level as enemies move more quickly and rattle off more bullets, forcing you to up your game and become ever more proficient with your weapon of choice. By the end, you feel like you've developed some accomplished six-shooter skills, even if they are limited to the virtual world. And as an added incentive, in the story mode, any points you earn are converted to experience points, which you can use to buy new skills such as quicker reloads or the ability to slow down time when you look down a gun's iron sight.
There are special, super-shiny guns to unlock too, but the majority of weapon types can be found in each level. And while the weapon selection isn't vast, it is sensible, giving you enough variety to fine-tune the action to your own style. Like to pick off enemies from afar? Arm yourself with a rifle for long-range shots, and back it up with a quick-fire six-shooter for closer combat. Like things up close and personal? Saddle up with a sawed-off shotgun and a pair of powerful Ranger revolvers for some messy takedowns. Or, if you just feel the need to blow stuff up, light a few sticks of dynamite and watch your enemies fly.
The excellent shooting is capped off with the series' trademark quick-draw duels. The system has been tweaked slightly so that instead of following the footsteps of your opponent, you have to keep him within a target reticle to increase focus, while also keeping Greaves' trigger finger as near to his pistol as possible for a faster draw. It's a precise, fun system that's a great counterpoint to the fast-paced action that precedes each duel. If only every boss battle in the game worked this way. Sadly, there are some frustrating sequences where you're forced to face off against bosses armed with Gatling guns. Your only recourse is to spam dynamite at them from behind cover and hope for the best. Any other move results in a frustrating instant death.
Such frustrations aren't enough to sour Gunslinger, particularly when they disappear altogether in arcade mode. There, you're treated to short, timed levels where your goal is to rack up as high a score as possible as quickly as you can. These are an absolute blast to play through, distilling everything that's great about Gunslinger's combat into short bursts of action. And it's their very shortness that makes them so compelling, letting you quickly replay levels to rack up the biggest multipliers, and perfect every high-scoring headshot. There's a similar mode for duels too, where you're judged on the accuracy and speed of your shots. Both modes link to online leaderboards, so if you're the competitive type, prepare to sink hours into beating your friends, or making your way into the top 10.
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Saturday 20 July 2013
Faislsbad board 2013 matric result
Fifa 2013 pc game download free full version
Indeed, some of FIFA 13's new marquee features are mere tweaks of those introduced in FIFA 12, one of which is the infamous player impact engine. It has been overhauled in an attempt to reduce those odd, fumbling, and sometimes-hilarious collisions that players made as they bounced over each other on the pitch like rag dolls. But while there's certainly a noticeable improvement in the physics system, with far less slipups, it's not infallible; there's still the odd glitch here and there as players do inhuman backflips over others and flop along the pitch like weird anthropomorphic fish.
Better are the changes to the dribbling system, which have been inspired by the work done on FIFA Street. Now you can swirl the ball around a player's feet using the analogue stick, teasing defenders with cheeky dummies, stops, and skilful flicks. Pulling off such manoeuvres is so very satisfying, and this system works great with another tweak that means players no longer have to face the direction in which you want them to dribble. This makes play look and feel much more natural, letting you actively shield the ball or ensure that you're always facing the goal when zipping around defenders for the perfect strike.
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Need for speed Rivals pc game download free full version
In an interview with IGN, EA Labels president Frank Gibeau explained why he thinks Rivals stands out from the pack, plus commented on whether he thinks Need for Speed will continue to be an annualized franchise.
A lot of the driving games we go up against are simulations. The way
that we think about it internally is, that’s like going to the symphony.
Ours is about going to a Jay-Z show.
“I think we do a really good job capturing the feel of driving and
getting the chase-or-be-chased feature,” Gibeau told IGN about Need for
Speed. “A lot of the driving games we go up against are simulations. The
way that we think about it internally is, that’s like going to the
symphony. Ours is about going to a Jay-Z show. It’s rock and roll. It’s
in your face. It’s a lot more about the visceral feel of driving through
a billboard, doing a jump, but doing it in an authentic car, a car that
looks and feels like a 911 should drive. We like to tell the stories of
cops and racers. We like to tell stories in an open world. We think
that the racing category, it used to be like 20 percent of the business
back on the PS2. Now it’s single digits as far as a percentage of the
overall business. We think that there’s a lot of innovation required to
continue to keep driving as a category expanding. We think it’s the open
world approach. We think it’s the competition approach. We think it’s
the multiplayer approach.”“Unfortunately, racing games got to a point where you’d have 16 people ready to go, and after the first lap, 15 people didn’t care anymore,” he continued. “They’d crashed or they were far behind. It was like an F1 race with Michael Schumacher. There’s just no point. We think that having an open world where you can mingle racing, have quests and adventures to go jump through stuff and do different things, that’s the way to start re-broadening the racing category and bringing in a larger audience. We saw a lot of good feedback in that respect on Most Wanted. If you look at Rivals this year, it builds on the open world. It’s more of a country open world, as opposed to an urban open world, but we’ll look at how we create the experiences in a much more open world. It’s competition-based, but authentic to the cars. We like that idea.”
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