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recently , i reported Thousands post-hunts and off-topics double-posts and excessive size-font and ETC ... but daily i see none moderators take action on them , it's completely clear there is double-post there or ... , i see super-moderators visiting the reported topic but they leave without any action i just see sometimes PULSE works with hiding topics but others do nothing , this is a problem and related to CSBD community so i opened topic for it here , i want know why staff of moderators do nothing ? i always see this , but today when i gave a link to a super-moderator on TS and he did nothing , it really made me mad , if their job is to care for forum why they don't do their JOB ?? why they don't punish abusers ?? this is complaint from me and maybe from many others ...

I can't say I'm the only one who's working on reports but for real now.. I need some help, I have 100+ reports resolved from christmass to now.

A SM don`t need to lock a complaint on StreetZM , StreetZM have it`s owners , who can manage the forum. I see this topic as an offence heading to CSBD`s staff. I will give you a verbal warn today , but , next time when you will act like this , you will be banned.

I don’t know if there could have been a more appropriate main theme for Spec Ops: The Line than Jimi Hendrix’s Star Spangled Banner. Exactly as the free falling course of its story, Hendrix’s composition is a deformed and “dirty” version of the United States’ national anthem that emphasizes (in analogy with the game’s events) the perversion of some very noble principles. Principles embodied by the character we control, Captain Martin Walker, sent in Dubai to recover a certain John Konrad, a colonel who violated his orders to get an entire military division in the city in the hopes of evacuating those who were still alive after a series of truly apocalyptic sandstorms. Initially, Walker has a very idealistic attitude, believing that the mission could be done without any major complications. He intends to localize Konrad and let the real evacuation teams do their job in regard to civilians. But the situation takes a major turn when he realizes that the 33rd division might not actually want to leave Dubai. And so, finding Konrad is now even more important, as much as this was even possible. But there is another major detail we initially learn from a loading screen: some time ago, Konrad saved Walker’s life, so maybe finding the former is a vital objective for the latter, with the potential to transform itself into an obsession. I was immediately grateful to the story for evading the cliche of Americans who travel all over the world to spred democracy. Although the first soldiers you meet have a clear Middle Eastern allure, we immediately get an American vs. American scenario, with the afferent confusion of friendly-fire situations. I also thought I could be grateful for the lack of cinematic sequences, because very shortly after the start we come to a hostile exchange of bullets accompanied by one of the many classics on the soundtrack, a moment when it could be said that The Line becomes too fancy for its own good, apparently trying to force the atmosphere without a sufficient technical base. And there’s nothing wrong with this type of scene-setting, on the contrary, but the game does not excel from a mechanical perspective, and the artificial intelligence is sometimes a disaster, problems that strongly sabotages the grandiosity of the respective scenes. For those who’ve seen Apocalypse Now, the scene will immediately remind them of it, not exactly surprising seeing as how both of them are inspired by Heart of Darkness. No, the cinematic sequences are not lacking and are numerically on par with other action games, but are also as professional as in other titles. And with this we’ve come to one of The Line’s biggest deficiencies: the fact that as a 3rd person shooter it is completely standard, mediocre even, with an AI that would be better strongly restricted or scripted than free to jump right in your face when you bring down enemies with a turret or incapable of any reaction when you are sometimes three meters distance from a hostile soldier with no obstacle between the two of you. Besides Martin Walker, your team is comprised of two more soldiers that you can order to attack an enemy and also, while in some fights, give contextual commands for using a certain type of grenade. When one of them is down, you can rush over to him for resuscitation or you can order the other one to do it. Sadly, their AI is in a perfect symbiosis with that of the enemy, a fact painfully and comically observed when you are attacked by adversaries that rush you with only a knife. Yes, we have a hostile that rushes in your direction, amidst the gun bursts, with a knife. I think I understand what was intended here, maybe the designers wanted a ninja type soldier, very fast and lethal at close range. And it would have probably worked if he was put in situations where he could unexpectedly jump behind your back, but not when you see him run towards you from a 10 meter distance. And what do your teammates do when they see him? They yell at you to be careful. No shooting, no coming at your side to protect you, just a friendly warning. The cover mechanics are good, but they could have been much better very easily. It takes some time until you get used to it, because it’s not immediately clear when exactly you switch between two objects that offer cover and the vaulting key is mandatory the same as the melee attack one (thank you console controllers), with the priority of the two functions not being perfect by any measure. But these are not the things that generated the hype on which the marketing campaign relied on before launch. It was the story, or more exactly, its refusal to spare the idealistic expectations with which most games have accustomed us, where the bad guys are only bad, just like the good and innocent cannot be anything else. The starting vista is almost surreal. We are somewhere on a highway, filled with cars buried in sand. In the far off we see Dubai at the opposite extreme of what it currently represents, a monument of opulence, but also of technological and architectural achievements, buried under sand dunes that sometimes swallow entire buildings. And surrounding everything is the desert, as far as the eye can see. Although it’s ultimately only the space where the hostilities take place, the attention and detail with which Dubai has been reconstructed and destroyed made me regret that I could not truly explore it, being obligated to manage with the classical, completely linear structure of a shooter. And maybe a city won’t be able to express itself as clear as a human character, but there are moments when its decrepitude and architectural devastation speak more loudly than anything else, when Dubai become as striking as Walker and his fellow soldiers. In any case, you’ll remember it much more profoundly than the anonymous mass of 33rd soldiers. But to the game's praise, The One in Which I've invested the most emotional attachment Also the center around Which is ambiguous Every choice on the way revolves. As I've Said Walker starts the year with mission very confident and apparently clear goal, That of finding Konrad as fast as Possible. But the apocalyptic Almost That state has gotten into Dubai Something else has Prepared For Him and the others captive there, Moments That Will Test Him - and implicitly others, soldiers and civilians alike - Far Beyond the Limits of Their Ideals own. Walker's transformation from idealistic year into the pragmatist of survival starts Slowly, but surely, and after A Certain Becomes Very Clear That moment puts you to the test first, as observer of the events year. The change does not only reflect in the results of His choices - Which ultimately define us, the ones controlling HIM - but Also in the changing visual aspect of the three team members and in the superbly directed Interactions Between Them. All of Them is engulfed in dust and scars Slowly, Walker made himself getting burned half of his tag somewhere after the second half of the story. But one of phenomenons for Which I truly appreciated the way the transformation of the team is represented is the Fact That You'll come to a point Where You Can Trust Him anymore, although He is ultimately your avatar in this world.If, at the start, Walker is very coherent and frequently insists with what must be done, on the way to the end he slowly loses his clarity, appearing dismayed and silent when confronted with the results of his choices. How many games have the courage to treat you like this? Even more, everything that he decides in the campaign is not exempted from the judgment of the rest of his team and with this comes another major achievement. Although the choices he has to make range from tough to „I never thought I could do this”, you’ll be judged in an absolute way only by your own conscience. Yes, the opinions of the others are absolute judgments for them, but the game will confront you with the “valid” and painful arguments of other perspectives; you only need to make up whatever excuses you think make you look better in the respective situations. On the other hand, the choices won’t change anything essential in the story. In certain moments it’s not even clear if you can make some other choice besides the obvious one, other times the result is the same. There are multiple endings to see, but The Line’s merits come primarily from the courage of offering us such a brutal setting in which to test our principles. It could be said that the producers are actually… toying with us on many levels. Not only that the events and choices are hard to swallow, but the game uses other means to force you to question yourself. First, it’s hard not to feel a bit… uncomfortable when orders like “Obey!” and “Run God Damn It!” are slammed on the screen, but one of the most evident of these ways comes through the loading screens, where toward the end you get many messages that act almost as a voice of consciousness. You are asked, plain and simple, if you feel like a hero yet and you’re told, in such a gratuitous way that it’s hard not to feel mocked, that you still are a good person. We could also call these methods gratuitous, but I think it’s worth asking ourselves again how many games have the courage to pass over their own interactive and narrative line to first question us, the ones that actually make the decisions and not some fictitious character from a virtual world. And although The Line is less about impersonal crowds and legions of anonymous soldiers you could barely care about, but more about the personal dramas and painful transformation of a few characters, the game is undermined, mechanically and conceptually, by its genre and the problems of the AI. MINOR SPOILER START In a sequence that starts very promising, with a group of civilians shouting and throwing rocks at a convoy of trucks carrying water, the AI and the bunch of soldiers that literally throw themselves at you without any care, as well as the awkward way Walker’s grenade launcher dismembers them only serve to disconnect you from the rest of the story, turning all its gravity from before and after at 180 degrees. MINOR SPOILER END On one side, we have the story that’s supposed to make you question a lot of things you believe and on the other, the sequences where you need to shoot tens of enemies with which there’s no other way of “negotiating”. You have to care about Walker’s tormented transformation and question your own decisions and then enter into a state in which you’re capable of sweeping a few series of characterless individuals with no remorse. A bit relaxation could be found in multiplayer, if there were any players around. In more than half of my connecting attempts to online matches I had complete bad luck, having to wait for other players in the lobby. I don’t know if the situation if better on consoles, but it’s not completely surprising, seeing as The Line clearly insisted on its single-player campaign as the highlight. Even so, the multiplayer is surprisingly elaborated, miles above what I was expecting from a game that continuously insisted how great its story is. We have two opposing teams with mostly negligible differences, like the ability to gain more experience from melee attacks, an exclusive class for each team – from five – and a consistent arsenal, all this sustained by a considerable collection of perks. From the six online modes, High Value Target is probably the most interesting because it offers the most possibilities for cooperation, the classes also being designed first for the synergy between them and second for Deathmatch and Team Deathmatch. High Value Target has some Rush (Battlefield) elements because it implies the progressive destruction of several objectives culminating with a final one that marks the victory of the match. If you have enough teammates with varied specializations, the chances for winning are upped thanks to the classes that offer localized advantages if you’re close enough to the respective soldier: medics will increase the health regeneration rate, the sniper will offer better accuracy etc. But even the classic Deathmatch and Team Deathmatch modes get a bit more variety thanks to the sandstorms that start periodically in the exterior of the maps and in which, if caught, you won’t be able to sprint and your radar gets blocked. Moreover, the campaign and multiplayer maps come with certain zones where you can destroy parts of the structures (glass, walls), trapping those underneath in a sand dune. With all this said, it’s clear the multiplayer won’t astonish anyone more than any other standard shooter. It is really consistent, decent in its mechanics and of course held up by human intelligences that can do considerably more then the artificial one that plagues the campaign, but that’s it. Even with all the morbid ambiguity of the campaign, I still consider that the stance to take when confronted with Spec Ops: The Line is pretty simple. We are in an era when YouTube can sometimes save us from spending money, especially when we are more interested in the story of a game and are less willing to support a defective or unattractive mechanic and an AI that could just as well be nonexistent. And this is ultimately the breaking point of The Line (pun intended). It truly deserves applause for the courage to confront us so harshly with our own character, even if our choices sometimes seem forced or useless. But if it could have found another way, less tiresome and monotonous, to let us get to them, it would have had substantial chances to become a classic.

This morning, The Walt Disney Studios announced new release dates for upcoming films from two of its major franchises. Star Wars: Episode VIII, originally scheduled for release on May 26, 2017, will now debut on December 15, 2017. The move follows the extraordinary success of Star Wars: The Force Awakens, which was the first Star Wars movie to premiere in December. In the po[CENSORED]r holiday moviegoing corridor, it smashed numerous records, including biggest domestic and global debuts of all time as well as the biggest domestic second and third weekends, en route to becoming the highest grossing domestic release of all time with over $861M and the third biggest global release ever with $1.887B. Written and directed by Rian Johnson, Star Wars: Episode VIII is currently in pre-production and will begin principal photography in London next month. Kathleen Kennedy and Ram Bergman will produce and J.J. Abrams, Tom Karnowski, and Jason D. McGatlin will executive produce. Stay tuned to StarWars.com for exciting updates in the coming weeks. With Star Wars: Episode VIII jumping to December, Disney's Pirates of the Caribbean: Dead Men Tell No Tales will set sail on May 26, 2017, from its previously scheduled July 7, 2017, berth. The blockbuster franchise's previous installment, the $1B-grossing Pirates of the Caribbean: On Stranger Tides, also debuted in late May. As of now, no other movie has been given a May 26, 2017 release date, so we'll have to wait and see if it will have any direct competition as we get closer to that date. In Pirates of the Caribbean: Dead Men Tell No Tales, Johnny Depp returns as Captain Jack Sparrow with Geoffrey Rush back on board as Barbossa, Orlando Bloom resurfacing as Will Turner, and a terrifying new adversary, Captain Salazar, played by Javier Bardem, in the mix. Produced by Jerry Bruckheimer and directed by Joachim Rønning and Espen Sandberg, the film is currently in post-production. The supporting cast includes franchise newcomers Kaya Scodelario, Brenton Thwaites and Golshifteh Farahani, with other returning stars such as Stephen Graham, Kevin McNally and Martin Klebba. Star Wars: Episode VIII will now be going up against Warner Bros.' Ready Player One, directed by Steven Spielberg, on December 15, 2017. It wouldn't be surprising if that adaptation, which stars Olivia Cooke and Ben Mendelsohn, shifts its release date in the weeks and months ahead. Many fans were overjoyed that the Star Wars franchise was returning to its roots with a May release date for Star Wars: Episode VIII, but now we'll have to wait a few months longer before this sequel hits theaters. Are you disappointed with this release date shift? Star Wars: Episode VIII comes to theaters December 15th, 2017.

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Ubisoft today released the first DLC free for Anno 2205 more will arrive throughout the year. The package is included in patch 1.3 available on Steam and Uplay. Wildwater sector have been initiated Bay, part of the temperate climate region three new ornamental same region and a new headquarters that brings information, security, mobility and entertainment. Also, World Market has received a significant update. All contents described here. End of next month will introduce two DLC surcharge, Tundra and Orbit. The first will be launched by the end of February. Page Steam game is here

After becoming one of the most po[CENSORED]r PC racing simulators, Italian studio Assetto Corsa will bring Simulazioni Kunos and PlayStation 4 and Xbox One consoles. He will be released on April 19 in North America and more than 3 days will be available in Europe. On launch, it will include more than 80 cars, such as Pagani Zonda R, Ferrarri LaFerrari, Sauber Mercedes C9 or Corvette C7R GTE, and 20 circuits built after the actual measurements of the laser. The good news is that all three packs of cars and circuits called Dream Packs, which costs $ 35 per PC, consoles are included free. The game will run at 60FPS on both systems, but only the PS4 will have 1080p on Xbox One will run at 900p. Like the PC version and the console ajutorele pilot may be adjusted. The studio says it has made efforts to be operational as Assetto Corsa on controllers, but a dedicated drive is recommended. Page Steam game is here and information about the consoles versions are http://www.console.assettocorsa.net/

As I said in the article about Philips 242G5 monitors dedicated gaming are in vogue at the moment, manufacturers trying to attract buyers with all kinds of nice things 3D, 144Hz refresh rate, numerous adjustment possibilities, hubs USB 3.0 even remote controls to access the OSD. But slowly starting to make space for a technology that, although announced nearly a year ago and highly praised, has not yet made too many waves: NVIDIA G-SYNC. But what is it? In short, the desire to eliminate the effect of "tearing" that PC gamers are used from time immemorial. Because the processing power of video cards has grown (and continues to grow) incredibly long, but monitors have not really kept pace about the display frame rate. Which led to a sort of "choose the lesser evil" until recently when they started with 120 and 144Hz models appear: you want the images to be displayed correctly, without the feeling that at some point someone 've cut with scissors and then he stuck fast in the hope that does not catch anyone? Enable Vsync, but that means having to do with what in technical terms is called "input lag". Oh yes, and the fluidity will suffer if your video card can not cope at a time and framerate drops more than necessary. You want to look for input lag and have maximum performance? Disable Vsync and enjoying a sensational framerate. So you'll catch him in action often Uncle with scissors tell you it above. Well, while Vsync is a software solution, G-SYNC hardware enter into the equation a control plate, which is inside the monitor. With its help, monitor and video card are synchronized perfectly every time, and the display is flawless as there is no possibility that the video card to "get ahead". You can have a monstrous framerate, the monitor will always display only as needed for fluidity does not suffer. AOC is one of the producers who want to publicize new technology model that we test it under the name G2460PG. Technical specifications: Monitor Size 24 " Visible Screen Size 61 cm Screen Format 16: 9 Brightness 350 cd / m² (typ) Dynamic Contrast Ratio 80,000,000: 1 Contrast Ratio Typical 1000: 1 (CR) Pixel / Dot / Pitch 0.276 (H) x 0.276 (V) mm Display Area 531.36 (H) x 298.89 (V) Viewing Angle 170 (H) / 160 (V) (CR ≧ 10) Up to 1 ms Response Time Maximum Resolution 1920 x 1080 @ 144 Hz Video Display port connections Other Features Tilt -5/22, 130 mm Height Adjustment, Eco Mode, e-Saver, i-Menu, Kensington Security Lock, NVIDIA G-SYNC screen +, 2x USB 2.0, 3x 3.0 VESA 100 mm Once you're done admiring the artwork Assassin's Creed IV: Black Flag on the box and open it, you'll find just the essentials: cable cord, USB 3.0, transformer base stand, a CD with drivers, clip wire management and very important, DisplayPort cable. Important because G2460PG (like any other monitor with G-SYNC) has no other type of video connector. No D-Sub or DVI or HDMI. Unfortunately technological limitations. Installation is very easy stand and the monitor itself allow a lot of adjustments to bring him to the right, positive step given the money they have to fork out for his purchase. You can leave lower or raise (up to 13cm), you can tilt, rotate or you can set it to operate in portrait mode if needed. As for appearance, not surprisingly, AOC went green as contrast color, logo NVIDIA G-SYNC sitting on throne back of the monitor, but per-all, anything to take your eyes really. Like Philips 242G5, it's not bad, but not the kind of monitor that you fall in love at first sight. At the bottom of the frame we find the buttons to access the OSD (on screen display), with two more special. One of them controls the ULMB (short for Ultra Low Motion Blur), the successor to NVIDIA LightBoost designed to eliminate as much as possible and goshting the blur that arising because of very fast. The bad news is that it only works on ULMB refreshes 85/100 / 120Hz. Which means you can have G-SYNC or ULMB, not both simultaneously. The second button, Dialpoint has drawn over a target, a very significant symbol for their function: when pressed, you can choose from six models of targets remain on the screen. Issues which in theory is very useful for enthusiasts of shooters, but I doubt that any veteran Battlefield or Call of Duty will be used in a serious match. CSD has class settings to which you'd expect - brightness, contrast, color, positioning vertical and horizontal picture timeout, even a reminder that can be set for you twitch from time to time to take a break. And so we reach the really interesting chapter: gaming performance. At the outset I must stress that G2460PG AOC has a TN panel, with all the good and bad things arising from this. Low response time, viewing angles so-so. Contrast and color reproduction are ok, and once you walk through the settings of the monitor + video card, you can reach more than satisfying results. It will not be on the quality of an IPS, but on the other hand this model was not designed for graphics and design. Once you've adjusted, however, the monitor performs very well, with or without G-Sync. That if you naturally and as a system that can give you a very good framerate even the most demanding titles-n. What creates an interesting dilemma: when you have a system so powerful impact of G-SYNC is low compared to situations where the framerate fluctuates significantly and where even seen intake NVIDIA (if you want to see technology Action under "laboratory" You have Pendulum tech demo). At the same time, given the fairly steep price, it's hard to believe that someone with a weaker PC will opt to take a screen with G-Sync at the expense of the processor or video card upgrade. And speaking of video cards, because this is an issue to be mentioned: as G-SYNC NVIDIA's proprietary technology, must have required a GeForce video card. You just got a super plate or in about 3-6 months AMD appears a model produced by its performance that shatter all records? Bad luck, stay with NVIDIA G-SYNC or farewell. So the conclusion we can draw about G2460PG is very simple: the AOC did a very good job and produced a monitor that offers exactly what promises - Specification with excellent games, regardless of genre you prefer, supported a technology that has the potential to become standard in the [CENSORED]ure more or less distant. The great "but" is that besides the technological limitations (G-Sync works only with GeForce, only DisplayPort connector on the job), and it's steep price for monitors with G-Sync, especially in Romania. But if you stay within your target customer segment and the necessary funds may include AOC G2460PG quiet among the options considered.

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