Guys Farcry 2 supporting for directx 10.1 on current nvidia Gpus to increase AA, Z buffer performance eventhough nvidia does not officially support directx 10.1
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What are the games you are playing Currently
- Thread starter roshant
- Start date
FallOut 3 is Out.
Developer(s) Bethesda Game Studios
Publisher(s) Bethesda Softworks
ZeniMax Media
Designer(s) Emil Pagliarulo (Lead Designer)
Todd Howard (Exec. Producer)
Composer(s) Inon Zur
Series Fallout
Engine Gamebryo engine
Platform(s) Microsoft Windows, PlayStation 3, Xbox 360
Release date(s) NA October 28, 2008
EU October 30, 2008
AUS October 30, 2008
UK October 31, 2008
Genre(s) Action role-playing game
Mode(s) Single-player
Rating(s)
BBFC: 18
ESRB: M
OFLC: MA15+
OFLC: R18
PEGI: 18+
Media Blu-ray Disc, DVD, Steam (content delivery)
System requirements
Input methods Keyboard and mouse, Gamepad
Setting:
Fallout 3 takes place in a post-apocalyptic United States in the year
2277. The player character is a member of Vault 101, a fallout shelter
serving Washington, D.C. The player character lives with his/her widower
father (voiced by Liam Neeson) until, one day, the player wakes up
finding that the father has left the vault and ventured into the wasteland
for unknown reasons. The vault overseer becomes suspicious that the player
had something to do with the father's disappearance, and the character
decides to go out into the Capital Wasteland in search of him. Along
the way, the player will encounter organizations seen in the previous games,
including the Brotherhood of Steel, a group of technology-coveting
survivors, and the Enclave, the elitist and genocidal remnant of
the U.S. government.
MORE INFO:
http://www.gamespot.com/pc/rpg/fallout3/index.html?tag=result;title;1
http://uk.pc.ign.com/objects/568/568806.html
http://pc.gamezone.com/gamesell/p24489.htm
LANGUAGUES: ENGLISH, RUSSIAN
Developer(s) Bethesda Game Studios
Publisher(s) Bethesda Softworks
ZeniMax Media
Designer(s) Emil Pagliarulo (Lead Designer)
Todd Howard (Exec. Producer)
Composer(s) Inon Zur
Series Fallout
Engine Gamebryo engine
Platform(s) Microsoft Windows, PlayStation 3, Xbox 360
Release date(s) NA October 28, 2008
EU October 30, 2008
AUS October 30, 2008
UK October 31, 2008
Genre(s) Action role-playing game
Mode(s) Single-player
Rating(s)
BBFC: 18
ESRB: M
OFLC: MA15+
OFLC: R18
PEGI: 18+
Media Blu-ray Disc, DVD, Steam (content delivery)
System requirements
Input methods Keyboard and mouse, Gamepad
Setting:
Fallout 3 takes place in a post-apocalyptic United States in the year
2277. The player character is a member of Vault 101, a fallout shelter
serving Washington, D.C. The player character lives with his/her widower
father (voiced by Liam Neeson) until, one day, the player wakes up
finding that the father has left the vault and ventured into the wasteland
for unknown reasons. The vault overseer becomes suspicious that the player
had something to do with the father's disappearance, and the character
decides to go out into the Capital Wasteland in search of him. Along
the way, the player will encounter organizations seen in the previous games,
including the Brotherhood of Steel, a group of technology-coveting
survivors, and the Enclave, the elitist and genocidal remnant of
the U.S. government.
MORE INFO:
http://www.gamespot.com/pc/rpg/fallout3/index.html?tag=result;title;1
http://uk.pc.ign.com/objects/568/568806.html
http://pc.gamezone.com/gamesell/p24489.htm
LANGUAGUES: ENGLISH, RUSSIAN
Last edited:
fazaal24 said:FallOut 3 is Out.
Developer(s) Bethesda Game Studios
Publisher(s) Bethesda Softworks
ZeniMax Media
Designer(s) Emil Pagliarulo (Lead Designer)
Todd Howard (Exec. Producer)
Composer(s) Inon Zur
Series Fallout
Engine Gamebryo engine
Platform(s) Microsoft Windows, PlayStation 3, Xbox 360
Release date(s) NA October 28, 2008
EU October 30, 2008
AUS October 30, 2008
UK October 31, 2008
Genre(s) Action role-playing game
Mode(s) Single-player
Rating(s)
BBFC: 18
ESRB: M
OFLC: MA15+
OFLC: R18
PEGI: 18+
Media Blu-ray Disc, DVD, Steam (content delivery)
System requirements
Input methods Keyboard and mouse, Gamepad
Setting:
Fallout 3 takes place in a post-apocalyptic United States in the year
2277. The player character is a member of Vault 101, a fallout shelter
serving Washington, D.C. The player character lives with his/her widower
father (voiced by Liam Neeson) until, one day, the player wakes up
finding that the father has left the vault and ventured into the wasteland
for unknown reasons. The vault overseer becomes suspicious that the player
had something to do with the father's disappearance, and the character
decides to go out into the Capital Wasteland in search of him. Along
the way, the player will encounter organizations seen in the previous games,
including the Brotherhood of Steel, a group of technology-coveting
survivors, and the Enclave, the elitist and genocidal remnant of
the U.S. government.
MORE INFO:
http://www.gamespot.com/pc/rpg/fallout3/index.html?tag=result;title;1
http://uk.pc.ign.com/objects/568/568806.html
http://pc.gamezone.com/gamesell/p24489.htm
LANGUAGUES: ENGLISH, RUSSIAN
Hope to spend 60 hours dedicated for fallout 3
Tomb Raider Underworld
First Impressions
The new technology, both in and behind the game, isn’t the only thing to like about Tomb Raider: Underworld though. There are plenty of other new additions and tweaks which are worth a mention.
One of our favourite things about Tomb Raider: Underworld is the new focus on puzzles for example. Puzzles are an often-misunderstood element of game design and there are far too many people out there who think that they are irritating, annoying things which serve only to slow down the action.
We feel pity for those people though, as it’s the puzzles in Tomb Raider: Underworld that should be the most celebrated aspect of the game, not the combat.
In fact, the combat mechanics are mostly an improved version of those seen in Tomb Raider: Anniversary – and we don’t think that’s a super good thing, really. That stupid slow-motion targeting idea is still being used, though at least Lara can do some basic hand to hand combat too.
The puzzles in Underworld have taken a step up from any of the previous games, getting both more complex and grand. There’s no more of this ‘I have to climb up there and reposition the three mirrors in order’ nonsense. It’s all got bigger, better and more brain-breaking.
Much of this is down to the multi-tier approach which Crystal Dynamics has employed. Both the puzzles and levels are now a lot more open and less-linear, meaning that the entire structure of the game changes. It’s not just moving forwards through endless corridors to find the next room with a clockwork puzzle in it; it’s a whole lot more complex.
Now, with the open environments, it’s more about searching out and around the temples you’re exploring and finding the right tools to crack the puzzles before you progress. Archaeology is the salvage and study of broken things, so expect to be finding a lot of broken levers and machines that have to be repaired in Tomb Raider: Underworld, often having to search the level thoroughly to find what you need.
Tomb Raider: Underworld is definitely a more convincing and well-thought out world than we’ve ever seen in any of Lara Croft’s previous adventures too. The world is no longer just a blocky mess of ill thought-out plotlines and clichéd one liners. For all its good points, one thing that Anniversary definitely did was show gamers how far the Tomb Raider series had come in terms of narrative.
St. Francis’ Folly, for example, was a great level in Tomb Raider: Anniversary but it really shattered the suspension of disbelief to find this massive underground complex without ivy even growing on walls.
Underworld goes a long way to correct this fault by creating much more interesting, semi-realistic environments. The temples you explore are massive, broken down structures set in hugely inaccessible parts of the world or have been eroded by the footsteps of all those who have gone before you.
There are forgotten mysteries and secrets locked in these places which have remained hidden or overlooked for the longest time. Now, when it is time for these relics and artefacts to start to come to the surface, Lara is going to be there and nothing is going to stand between her and the mystical realm of Avalon that she’s so desperate to break into.
It’s going to be one hell of an adventure.
First Impressions
The new technology, both in and behind the game, isn’t the only thing to like about Tomb Raider: Underworld though. There are plenty of other new additions and tweaks which are worth a mention.
One of our favourite things about Tomb Raider: Underworld is the new focus on puzzles for example. Puzzles are an often-misunderstood element of game design and there are far too many people out there who think that they are irritating, annoying things which serve only to slow down the action.
We feel pity for those people though, as it’s the puzzles in Tomb Raider: Underworld that should be the most celebrated aspect of the game, not the combat.
In fact, the combat mechanics are mostly an improved version of those seen in Tomb Raider: Anniversary – and we don’t think that’s a super good thing, really. That stupid slow-motion targeting idea is still being used, though at least Lara can do some basic hand to hand combat too.
The puzzles in Underworld have taken a step up from any of the previous games, getting both more complex and grand. There’s no more of this ‘I have to climb up there and reposition the three mirrors in order’ nonsense. It’s all got bigger, better and more brain-breaking.
Much of this is down to the multi-tier approach which Crystal Dynamics has employed. Both the puzzles and levels are now a lot more open and less-linear, meaning that the entire structure of the game changes. It’s not just moving forwards through endless corridors to find the next room with a clockwork puzzle in it; it’s a whole lot more complex.
Now, with the open environments, it’s more about searching out and around the temples you’re exploring and finding the right tools to crack the puzzles before you progress. Archaeology is the salvage and study of broken things, so expect to be finding a lot of broken levers and machines that have to be repaired in Tomb Raider: Underworld, often having to search the level thoroughly to find what you need.
Tomb Raider: Underworld is definitely a more convincing and well-thought out world than we’ve ever seen in any of Lara Croft’s previous adventures too. The world is no longer just a blocky mess of ill thought-out plotlines and clichéd one liners. For all its good points, one thing that Anniversary definitely did was show gamers how far the Tomb Raider series had come in terms of narrative.
St. Francis’ Folly, for example, was a great level in Tomb Raider: Anniversary but it really shattered the suspension of disbelief to find this massive underground complex without ivy even growing on walls.
Underworld goes a long way to correct this fault by creating much more interesting, semi-realistic environments. The temples you explore are massive, broken down structures set in hugely inaccessible parts of the world or have been eroded by the footsteps of all those who have gone before you.
There are forgotten mysteries and secrets locked in these places which have remained hidden or overlooked for the longest time. Now, when it is time for these relics and artefacts to start to come to the surface, Lara is going to be there and nothing is going to stand between her and the mystical realm of Avalon that she’s so desperate to break into.
It’s going to be one hell of an adventure.
roshant said:Tomb Raider Underworld
First Impressions
The new technology, both in and behind the game, isn’t the only thing to like about Tomb Raider: Underworld though. There are plenty of other new additions and tweaks which are worth a mention.
One of our favourite things about Tomb Raider: Underworld is the new focus on puzzles for example. Puzzles are an often-misunderstood element of game design and there are far too many people out there who think that they are irritating, annoying things which serve only to slow down the action.
We feel pity for those people though, as it’s the puzzles in Tomb Raider: Underworld that should be the most celebrated aspect of the game, not the combat.
In fact, the combat mechanics are mostly an improved version of those seen in Tomb Raider: Anniversary – and we don’t think that’s a super good thing, really. That stupid slow-motion targeting idea is still being used, though at least Lara can do some basic hand to hand combat too.
The puzzles in Underworld have taken a step up from any of the previous games, getting both more complex and grand. There’s no more of this ‘I have to climb up there and reposition the three mirrors in order’ nonsense. It’s all got bigger, better and more brain-breaking.
Much of this is down to the multi-tier approach which Crystal Dynamics has employed. Both the puzzles and levels are now a lot more open and less-linear, meaning that the entire structure of the game changes. It’s not just moving forwards through endless corridors to find the next room with a clockwork puzzle in it; it’s a whole lot more complex.
Now, with the open environments, it’s more about searching out and around the temples you’re exploring and finding the right tools to crack the puzzles before you progress. Archaeology is the salvage and study of broken things, so expect to be finding a lot of broken levers and machines that have to be repaired in Tomb Raider: Underworld, often having to search the level thoroughly to find what you need.
Tomb Raider: Underworld is definitely a more convincing and well-thought out world than we’ve ever seen in any of Lara Croft’s previous adventures too. The world is no longer just a blocky mess of ill thought-out plotlines and clichéd one liners. For all its good points, one thing that Anniversary definitely did was show gamers how far the Tomb Raider series had come in terms of narrative.
St. Francis’ Folly, for example, was a great level in Tomb Raider: Anniversary but it really shattered the suspension of disbelief to find this massive underground complex without ivy even growing on walls.
Underworld goes a long way to correct this fault by creating much more interesting, semi-realistic environments. The temples you explore are massive, broken down structures set in hugely inaccessible parts of the world or have been eroded by the footsteps of all those who have gone before you.
There are forgotten mysteries and secrets locked in these places which have remained hidden or overlooked for the longest time. Now, when it is time for these relics and artefacts to start to come to the surface, Lara is going to be there and nothing is going to stand between her and the mystical realm of Avalon that she’s so desperate to break into.
It’s going to be one hell of an adventure.
thanks for da info
icreations said:Playing MAIFA for the Second Time..
What is Maifa bro
Maifa ,afaim,mfaia,aaimf haa haa haa!!!!
Dead Space
Review
Dead Space isn't an easy game to like and a lot of that is down to one very simple thing; the controls. The root of those control problems? Three words: it's a port.
That Dead Space was designed as a console game is pretty obvious and is evidenced by everything from the over the shoulder camera angle right through to the absence of a quicksave button. Take heart though; it isn't all bad.
Some console games have a design that can make the move to the PC platform quite easily and for the most part Dead Space is one of those games. The camera angle, while normally used more for console shooters, does a good job of limiting your field of view and making the game a bit scarier. It also gives you the field of view to make dismemberment easier. The savegame system works too – it's a hallmark of the genre.
Even though the general design of the game has ported over just fine though, there are still some technical issues which hold it back. Some of these are little more than just occasional annoyances, like the load times which are long enough that we have time enough to make a cup of tea with two sugars but infrequent enough that we don't end up diabetic.
The controls however are a totally different matter; they are just plain awful. They are sticky, unresponsive and stiff – all of which would be leading in to a very crude joke about necrophilia if we weren't such serious journalists. Snigger.
Admittedly, the problem isn't as massive as it could be and once you get to grips with the stiffness of the mouse then you won't have problems with lopping off limbs with your lasers and lumps of lead – but it'll always be third nature rather than first or second. The problem isn't only with the aiming either, it's with the navigation too as turning and strafing isn't as smooth as you might expect it to be. It's clear the game would just play smoother and easier if it was being handled with a gamepad and not a mouse.
In the moment-to-moment gameplay, it isn't a huge problem. It's still easily possible to shoot off legs, arms and heads and it's just as easy to stomp those skulls and pistol-whip those alien beasties in the elbows until the rotten limbs litter the floor. When you get into some of the nitty-gritty though; the puzzles and areas, then it starts to become more of an issue.
Take the zero-g rooms, for example. These areas could be fun and easy and interesting as you run up and down the walls and explore the effects and usefulness of directional gravity. Except it isn't like that at all and you can't really run up and down the walls as you might hope – instead you have to aim at and launch yourself onto certain surfaces.
That's fine when you're shooting from the floor up towards the ceiling, but it's a little more irritating when you're standing where the wall meets the floor and can't simply walk from one to the other. You have to back-up and jump the corner instead.
It's a problem; a real mix of love and hate because the game really is very enjoyable, fun and scary except for these control problems – and even that is a problem which is mostly tolerable and manageable. Like well-conditioned hair.
It doesn’t always work, but one thing Dead Space definitely does is try – and that’s important. In the past Electronic Arts has been slated for spewing out endless refreshes of the core franchises, but over the past year or so we’ve seen the company start to change that where it can with games like Spore. Dead Space is another important stage in that process, using a variety of gameplay styles and clever little tricks to do so.
Dead Space isn’t a perfect game. The controls are sticky, the levels are sometimes padded out needlessly and the atmosphere occasionally loses its scary edge – but it has strengths too. The graphics and presentation are top-notch, the violence is brutal and engaging and the plot is deeper than you’d expect. In the end, the game is just plain fun, so while it may not be to everyone’s cup of tea it certainly won’t leave a bad taste in your mouth.
Review
Dead Space isn't an easy game to like and a lot of that is down to one very simple thing; the controls. The root of those control problems? Three words: it's a port.
That Dead Space was designed as a console game is pretty obvious and is evidenced by everything from the over the shoulder camera angle right through to the absence of a quicksave button. Take heart though; it isn't all bad.
Some console games have a design that can make the move to the PC platform quite easily and for the most part Dead Space is one of those games. The camera angle, while normally used more for console shooters, does a good job of limiting your field of view and making the game a bit scarier. It also gives you the field of view to make dismemberment easier. The savegame system works too – it's a hallmark of the genre.
Even though the general design of the game has ported over just fine though, there are still some technical issues which hold it back. Some of these are little more than just occasional annoyances, like the load times which are long enough that we have time enough to make a cup of tea with two sugars but infrequent enough that we don't end up diabetic.
The controls however are a totally different matter; they are just plain awful. They are sticky, unresponsive and stiff – all of which would be leading in to a very crude joke about necrophilia if we weren't such serious journalists. Snigger.
Admittedly, the problem isn't as massive as it could be and once you get to grips with the stiffness of the mouse then you won't have problems with lopping off limbs with your lasers and lumps of lead – but it'll always be third nature rather than first or second. The problem isn't only with the aiming either, it's with the navigation too as turning and strafing isn't as smooth as you might expect it to be. It's clear the game would just play smoother and easier if it was being handled with a gamepad and not a mouse.
In the moment-to-moment gameplay, it isn't a huge problem. It's still easily possible to shoot off legs, arms and heads and it's just as easy to stomp those skulls and pistol-whip those alien beasties in the elbows until the rotten limbs litter the floor. When you get into some of the nitty-gritty though; the puzzles and areas, then it starts to become more of an issue.
Take the zero-g rooms, for example. These areas could be fun and easy and interesting as you run up and down the walls and explore the effects and usefulness of directional gravity. Except it isn't like that at all and you can't really run up and down the walls as you might hope – instead you have to aim at and launch yourself onto certain surfaces.
That's fine when you're shooting from the floor up towards the ceiling, but it's a little more irritating when you're standing where the wall meets the floor and can't simply walk from one to the other. You have to back-up and jump the corner instead.
It's a problem; a real mix of love and hate because the game really is very enjoyable, fun and scary except for these control problems – and even that is a problem which is mostly tolerable and manageable. Like well-conditioned hair.
It doesn’t always work, but one thing Dead Space definitely does is try – and that’s important. In the past Electronic Arts has been slated for spewing out endless refreshes of the core franchises, but over the past year or so we’ve seen the company start to change that where it can with games like Spore. Dead Space is another important stage in that process, using a variety of gameplay styles and clever little tricks to do so.
Dead Space isn’t a perfect game. The controls are sticky, the levels are sometimes padded out needlessly and the atmosphere occasionally loses its scary edge – but it has strengths too. The graphics and presentation are top-notch, the violence is brutal and engaging and the plot is deeper than you’d expect. In the end, the game is just plain fun, so while it may not be to everyone’s cup of tea it certainly won’t leave a bad taste in your mouth.
icreations said:Playing MAIFA for the Second Time..
r u aware that mafia II is goin to be release soon. check their site for the trailer.
i bought crysis warhead yesterday. AND its freakin awsome. coooollll...... game performance, much better than crysis. and even more action and more actionnnnn.....
better graphics. can be played 1680x1550 in enthusiast on 9600GT. (which i got)
better graphics. can be played 1680x1550 in enthusiast on 9600GT. (which i got)
wasawa said:
Great.A lot of EK guys have finished warhead and had moved on to
far cry 2.
save money. 2 good games coming out Fallout 3,GTA 4
