Update, December 11: Assassin’s Creed IV: Black Flag is now free to claim on Uplay.
Ubisoft announced they’d be giving away two games this month, and the second of those promotions is now live for all to enjoy. Log into Uplay and hit the banner to claim a copy of Assassin’s Creed IV: Black Flag. You have until December 18.
Check out the .
World in Conflict was already a solid get for the first part of the promotion, but there’s no denying the Assassin’s Creed name holds a bit more sway these days. Black Flag in particular is a fan-favorite in the series, as a light-hearted pirate tale that gets away from the convoluted backstory of the Assassins and Templars.
Of course, this is all a transparent attempt to get you to install and sign in to Uplay on your PC, but if we’re getting free games out of the deal I don’t know how much room there is to complain.
Bandai Namco has announced that Super Robot Wars X will be coming to PS Vita and PS4 in Japan on March 29, 2018.
Super Robot Wars X will also be available for PS Vita and PS4 in Southeast Asia (Singapore, Malaysia, Thailand, the Philippines and Indonesia) both physically and digitally on April 26, 2018, with Japanese voice-over and English subtitles.
This is version 0.88 of Sins of the Prophets, an alpha release for Sins of a Solar Empire: Rebellion version 1.9. Installation instructions are included in the zipped up file. You'll need to unzip the file named "Sins of the Prophets" and extract the folder named "SotP v0.88" to your mod directory (most likely still named "Mods&-Rebellion v1.85"). If you attempt to enable the folder called "Sins of the Prophets" the mod WILL NOT work. For any questions please refer first to the installation instructions text document, then to this forum post, the finally try to contact the Facebook page via a private message. Do not message individual devs for assistance.
http://img-ak.y8.com/cloud/y8-thumbs/4759/thumbnail464x348.gif How good are you at this game? Can you go on this game until you find Tyrannosaurus - Rex?
At Jurassic of 2048 game, we used dinosaurs instead of numbers to make the game more enjoyable. Every dinosaur represents a number. Our smallest number is 2 and a dinosaur egg represents this number. You must bring same dinosaurs side by side beginning dinosaur egg and you must find next dinosaur. Our biggest number is 2048 as the name of the game implies. Our 2048 number is represented by our biggest dinosaur Tyrannosaurus - Rex.
Our game consists of 16 squares. You can make the squares move sliding your hands right - left, up - down on the screen. During the movement the same squares will come together side by side and will form next dinosaur. If the dinosaurs on the squares are different from each other or empty, only squares will change sides.
Let's look which dinosaurs are represented by which numbers?
* 2 number, dinasour egg.
* 4 number, VELOCIRAPTOR
* 8 number, EDMONTOSAURUS
* 16 number, SUCHOMIMUS
* 32 number, STEGOSAURUS
* 64 number, APOTOSAURUS
* 128 number, DIMORPHIDON
* 256 number, HYBRID T-REX
* 512 number, TRICERATOPS
* 1024 number, ANKYLOSAURUS
* 2048 number, TYRANOSAURUS – REX
If you are at your lucky day, you can start with level 4 dinosaur watching an advertisement video. This will give you a chance to go forward fast and find the biggest dinosaur.
Sometimes you can think that you move wrong. You have at least three rights to take back your move.
At the game you can see the biggest dinosaur at the bottom of the screen. You can obtain the information pressing 'l' button.
Let's see you now! How good are you at this game? Can you go on until you find Tyrannosaurus - Rex?
Have a good time!
Over time people change, and their tastes change along with them. The things you liked, or the things that defined you when the PlayStation Network launched in March 2006 may no longer be the sort of thing that tickles you in the year of our loot box 2017. Users have been begging to change PSN names for what seems like forever, but Sony’s hand-waved or explained the possibility away - but that feature may be coming.
Detroit: Become Human seems to invite concern with every stage showing over the past few years, stemming from an overall fear writer and director David Cage does not possess the chops for the subject matter he likes to tackle in his games. With Detroit, Cage is pursuing the worn foundation of Androids, commonly used in fiction as a springboard for metaphors about race, identity, paranoia, and secondhand citizenship. It is, if nothing else, an opportunity for Cage and Quantic Dream to prove their vocal critics wrong.
We played the Detroid: Become Human demo at PlayStation Experience 2017. The demo contained two scenarios, the first being the hostage situation that was first shown on stage to demonstrate the branching paths the game's narrative could take and again shown at Sony's PlayStation Experience presentation. In this scene, Android hostage negotiator Conner is tasked with defusing a hostage situation wherein an out-of-control Android has kidnapped a little girl and is holding her hostage after murdering her father. Connor is brought in and the player is given the choice of how to proceed.
The first task you are given once you take control is to meet with the captain currently managing the crisis. While you can go straight to the commanding officer, Conner can also examine various pieces of the environment to analyze clues and get a better picture of the assailant and increase his chances of negotiating, which is represented by a literal percentage counter that tabulates chance of success. Only some of the items in the room can be examined before you speak to the captain; everything else just produces a red barrier that the Android cannot cross due to programming telling him to speak to the captain first. It is unclear why the hallway is okay but the little girl's room is not.
When you do speak to the captain, he is curt, expressing his disdain for Androids in general, and his overwhelming need to get the girl safely out above all else, even if that means working with an Android as a negotiator. If you ask him questions like what the other Android's name is or what caused this behavior, he will simply tell you to go do your job. Another officer remarks how important it is to get the girl out, which makes it puzzling they would not aid Conner by answering simple questions that would literally increase the percentage chance of success.
Conner is then left, pardon the pun, to his own devices, and can either march out the door to confront the hostage-taker or continue exploring in now available areas to investigate clues. Despite the captain telling you that every second counts, you are free to basically do whatever while an invisible timer ticks down. Analyze clues, grab a gun you very much are not supposed to have, just stand around if you want, the choice is yours. Investigating the little girl's room reveals the bad Android's relationship with the family and his name that the captain clearly could have just told you.
After that time (which is not visible to the player) runs out, the captain barks that Conner must get out there. At the time, I was looking at an important clue which did not get added to my file despite my looking directly at it. I had not fully completed the crime scene reconstruction to show where the father's tablet fell, even though I could see it on the ground, and Conner remarking on the tablet being important. Still, you get moved to the veranda where the actual negotiation takes place.
It is a fairly tense scene, where Conner talks the other Android, Daniel, down with prompts of empathy and the clues he found searching the apartment while slowly walking forward toward him. The chance of success goes up and down depending on your answers, eventually reaching 100% chance of success and convincing Daniel to let go of the girl.
Either way, the police shoot him, and none of that really matters.
The other part of the demo is the scene shown at Paris Games Week with the Android Kara, a service robot that is cooking and cleaning for a drunkard louse who is unhappy with his life. Despite possessing an intense hatred for Androids himself, he requires Kara's help in keeping his home (which, for whatever reason, looks identical to Ethan Mars' house in Heavy Rain) running, as he does not possess the inclination or mental faculties while drunk to do it.
Kara's first task is to serve dinner, which she does by bringing two plates of spaghetti to the dining room table. A secondary objective to turn on the lights appears on Kara's HUD, which took some searching to figure out which of the room's multiple light switches was the one the game wanted me to touch. The father eventually scolds me for not turning on the lights yet while Kara stands directly in front of it, leaving me to wonder what he thinks I was doing while walking toward the lights.
For virtually no reason, the father flies off the handle and flips the table, sending the little girl upstairs. He orders Kara not to move while he works himself up with no other prompting until he decides to go beat his daughter. The entire thought process lasts about ten seconds and then Kara is given the opportunity to subvert her programming and break through the barrier keeping her there.
I ran upstairs, took the father's gun from his bedroom, and then pointed the weapon at him. The hostage demo I had played before established that Androids are very much not allowed to possess guns for any reason whatsoever, but Kara had just overcome her programming, so it made sense for her to take it. She pointed the gun at the father and threatened him to stop beating the little girl, at which point he mocks her for Androids not being able to kill humans due to their programming and then knocks the gun out of her hands.
What followed is a fight scene that is a genuine mess of quick time events. A smattering of prompts appeared, one after the other, designed to allow Kara to duck and weave the father's attacks. Despite being the same motions for Kara herself to perform, sometimes the prompts were analog stick movements, sometimes they were buttons, and sometimes they were gestures with the Dualshock 4. They all looked identical, making discerning between analog stick movement and gesture movement shockingly difficult in the heat of the moment.
After failing the quick-time events, the father is disposed of, and Kara and the little girl escaped on a bus. Without context, it is difficult to say whether that scene's cartoonish escalation was warranted or a symptom of a larger problem, but it left me raising more eyebrows than being curious at what's next.
The graphics of Detroit: Become Human are incredible and the music in the demo truly soars, but my fears about its writing have yet to be assuaged. Even without considering the scale of the story the game is trying to tell, individual scenes and dialogue are marred by poor execution, which could become a problem if those are the aspects the narrative needs to hang its hat on.
Detroit: Become Human is scheduled for release in 2018 exclusively on the PlayStation 4.