22 Jan 2012 Posted by ZOEY


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Another preposterous allegation I've heard about 1pinless is that it is no more than an old school shooter. I can safely say that this is no old school and in fact it could teach some lessons to older shooters (if such thing could be done. I know I'm not going with the general flow here but I think this is one of the most revolutionary games in the past years. It's like the first introduction of bullet-time in 1pinless Payne, after which every self respecting game had to have had it. Besides a good world awareness that allows it to find good defensive positions from where to throw everything at you, there isn't much to be said here. Closing down, all it could come with was an attempt to hold that position and find another spot behind the object he used it for cover - usually, the opposite side. Otherwise, he defended well from grenades and also managed to make very good use of them, subsequently flushing me out several times from my own coward's corner. X3 tries to bring us more than a dogfighting in space. I say tries, because even though it brings up some excellent elements, they are badly implemented, as if someone was in a big hurry, or some game testers played truant. The interface is far from being complete. There were many moments in the game when I yearned for some smart shortcuts, or some very useful right-click commands like form squad, match speed, outflank, or just orbit (play the game and you will understand). The basic concept remains the same as in the classic Caesar III. Your city?s development will be expressed in terms of Culture, Prosperity, Security and Favor, along with the number of your inhabitants and your treasury standings. You?ll still receive an initial amount of money to get you started and next you gradually try the emperor?s patience as you get the province in debt (and yes, he will send his troops ? increasing in power with every new wave ? to trash the city). Faithful to the god of war, Khaine, the nomads of the space are waiting for their time of glory when their enemies would be destroyed one by one. As the remnants of an ancient and (long time ago) most powerful race, the Eldars, are

You can also enlist the help of a second player, which is particularly valuable during fast-paced sections or for the less dextrous among you, although you'll both end up fighting over control of the lead character. These technical problems wouldn’t be quite so disappointing if Rome II weren't so adept at providing moments of true brilliance. In some cases, due to poor tactics or sheer bad luck, you can begin a battle with a huge advantage and still lose all but a few soldiers. Some of the game’s most exhilarating battles are decided by what you manage with only one or two units; if you’re left with only your general and his bodyguards, you might actually stand a chance of survival. Coming back from the brink of loss and capturing a capital or defending a strategically important point is one of the most satisfying experiences in Rome II. Shooting is also much more enjoyable, whether you're using a mouse-and-keyboard setup or a gamepad. In the earlier game, bullet drops were extreme, slight winds significantly affected shots, and your heart rate caused the scope to carom all over the place. Here, the physics here are just right. As a result, it's easier to gauge shots on your own without relying on the little red dot showing shot location that's offered in the lower two difficulty settings. Now you can play on the advanced setting and feel as though you are lining up shots like a real sniping pro. Before, shooting without the interface aid felt like guesswork. Lara's been making desperate leaps and grabbing on to faraway ledges since her earliest game, but it's never felt quite as good as it does here. And just as Lara acquires new weapons over the course of the game, she also gets her hands on gear that makes her more a more versatile adventurer. Particularly nifty are the rope arrows and rope ascender, the former of which enables you to create rope bridges to certain areas (among other things), and the latter of which lets you rapidly zip up ropes from a lower position. This gear gives you more freedom, and makes Lara seem like a progressively more capable and confident explorer. Audio and sound effects hold the line as well. In this case, that's a good thing, because the atmospheric park noises are very true to life, and the three-man team of Gary Thorne, Steve Phillips, and John Kruk does a stellar job in the broadcast booth. A fair bit of the play-by-play and color commentary seems fresh, too, so this is one part of the game that feels somewhat new. The soundtrack is all over the place, however, with a strange mix of alt rock, college rock, hip-hop, and one classic rock straggler. There isn't any identity created by the soundtrack; the songs are as anonymous and forgettable as the rest of the game. Combat