Leaderboard

Oh yeah baby, Afrodita won it again...

First time on csbd that I win a giveaway ? I LOVE U ALL :v

Wait wha- @Hellwalks

HAHHAHAHH ITS WEED BAYBEEEE

You can be a Global Moderator, but if you never have warned me, you are not a real Global Moderator. :v

Can you make a picture of da? avter 150x250

The giveaway ends tonight ?

Accepted - send to wizz PM! And most important make active as required by rules (read them carefully!)

@Akrapovic; Welcome Back on CaliforniaZM men We promise to all players of CaliforniaZM that we gone work more with server and we gone do more better things on it.

Congratulations!

M7K. PM

INFORMATION Anno 2205 is a city-building and economic simulation game, with real-time strategy elements, developed by Blue Byte and published by Ubisoft. Anno 2205 is the sixth game of the Anno series, and was released worldwide on 3 November 2015. As with Anno 2070, the game is set in the future, with players having the opportunity to set up colonies on the Moon GAMEPLAY Imagine a future where global warming has melted the Earth's ice sheets, and all that's left is a fractured society desperate to pick up the pieces and build anew on the few islands that remain. This is the setting of Anno 2205, a game where you side with one of two competing corporations to rebuild civilization, and eventually, construct a fusion reactor on the moon for a limitless resource of clean energy. Thankfully, humanity doesn't have to start from scratch. During your campaign, you have access to bits and pieces of advanced technology leftover from Earth's better years, but there's still a lot that needs to be rebuilt. That's where you come in. You're responsible for constructing new houses, roads, and factories, plus all the logistical systems that are required to support and transport all of your goods. Like most city-builders, construction is handled with a straightforward system of dragging and dropping elements from a menu onto a map. Anno 2205 makes construction a simple affair; even more so than usual. It adapts the series' mechanics to work within the constraints of a flooded, land-starved Earth, allowing you to tack modules onto existing properties to boost resource production, rather than having to construct entirely new buildings that eat up your ever-valuable real estate. Unlike most games in the genre to force you to permanently commit to decisions, you can also reposition elements after they're built in Anno 2205, which makes it easy to react when things don't go according to your original plan. You can eventually take on bigger construction projects that unlock new areas, including arctic settlements, additional islands, and, yes, the Moon. These projects require huge chunks of resources, however, and given that you earn funds at fixed intervals while playing, you have to do an awful lot of waiting before you can enjoy building and managing greater expansions. Anno 2205 accounts for this by giving you optional, secondary objectives to help pass the time. Unfortunately, Anno 2205 isn't a very challenging game. Every resource is inexhaustible, or close to it, and any city you build will stay stable for quite a long while. All you need is enough cash to lay down a ton of houses to attract workers, then build up factories, upgrade your workers, upgrade the factories, and repeat. Once you've got that cadence down, not only do missions become trivial, but the campaign flies by in a couple of hours. Military missions aren't much better. Even on higher difficulties, you can survive by employing the most basic tactics. As you move through a map, you regularly discover and acquire new tools in the form of missiles, mines, and support craft, and as a result, your over-powered military rarely faces an enemy it can't beat. It's a shame that Anno 2205 is so easy to figure out, because alternating between two distinct modes creates an enjoyable dynamic at first. But after a while, the lack of challenge in either mode leads to boredom, and you begin to dwell on how shallow each experience is in isolation. If anything is the killer here, it's how short the campaign is overall. I finished my first run after five hours, and subsequent playthroughs went by even faster. City building games have always been about maintaining balance. Tweak this thing here, another thing there, and wait to see if the effect was what you expected or needed. In Anno 2205, the rules and processes have been streamlined so much that you're robbed of this challenge. Cities' behavior are so predictable that it's far too easy to build everything you need and wait for everything to work itself out Balance issues aside, Anno 2205 has technical peculiarities that leave a bad taste in your mouth, too. It constantly simulates activities across multiple settlements in the background, but it takes a while for the game to load maps when you switch from one to the other. When planning out coordinated expansions that require two sets of resources from distant locations, you need to endure these frustratingly long loading times as you repeatedly shift your view from one map to the other. It's not game-breaking, but its a regular annoyance that impedes on your enjoyment. My machine is about as top-of-the-line as they come, and I also noticed some nasty frame-rate dips after a couple of hours that, while not making the game unplayable by any means, made it obnoxious to wrestle with. Adjusting graphical settings had unpredictable effects on the game's performance, making optimization a tricky affair overall. It's a shame that Anno 2205 takes the game so far into the future and does so little of substance with that premise. Not much has changed from Anno 2070, and what has is almost always worse. Anno 2205 still has a sturdy core of satisfying city planning and construction, but so much has been cut out as to make the game barely worth playing at all. GAMEPLAY TRAILER

Nobody likes me or the next like will be cursed...

good evening all ?

Is any of the designers at the moment on TS3 I need some advice?

1st. u have the same name as another player/admin my opinion thats shall be changed asap cuz its a big conclusion. /remove/ 2nd. u cant be adm in 2 or more srv that will be a punishment for u /direct remove/ 3rd. s3nz have to be punished too for useing comdands in this way /direct suspend/

@Studentul pm

Low activity Rejected.

Nice profile ❤️ haha Pablo Escobar!

Welcome.

INFORMATION INSIDE is a puzzle-platformer adventure game developed and published by Playdead in 2016 for PlayStation 4, Xbox One and Microsoft Windows. The game was released for iOS in December 2017. The player controls a boy in a dystopic world, solving environmental puzzles and avoiding death. It is the spiritual successor to Playdead's 2010 game Limbo, and features similar 2.5D gameplay. Playdead began work on Inside shortly after the release of Limbo, using Limbo's custom game engine. The team switched to Unity to simplify development, adding their own rendering routines, later released as open source, to create a signature look. The game was partially funded by a grant from the Danish Film Institute. Inside premiered at Microsoft's E3 2014 conference, with a planned release in 2015. The game was released for Xbox One on June 29, 2016, Microsoft Windows on July 7, PlayStation 4 on August 23, for iOS and Apple TV on December 15, 2017 and for Nintendo Switch on June 28, 2018. GAMEPLAY A world, broken at the hands of technological progress, decays in silence and darkness. Cowed and enslaved people shuffle mindlessly through the streets. Overseers dressed in masks and black clothes stand at the corners, waiting for one of the slaves to fall out of line, watching the soulless masses as they are forced to jump and dance. A featureless boy in the midst of it all walks through this dystopia wearing a red shirt, one of the only touches of color in this oppressive world. This is Inside, the second game from Limbo developer Playdead. Like Limbo, the gameplay is simple: you have to walk, jump, and grab objects in order to solve puzzles and overcome obstacles. Ultimately, however, the game is about your journey through a tyrannical, unknowable, and apocalyptic world. Over the course of a few hours, you descend ever deeper into the heart of a malicious and immense construct that threatens to suffocate agency and humanity. Limbo followed a character moving through a strange and primitive land. Death came easily to the character, but it rarely felt like murder. Inside, on the other hand, exudes violence, cruelty, and artifice. The game highlights the old and shattered parts of a society that you discover has been dragged into a hell of human experimentation. As you progress through Inside, you experience stretches of quiet and calm punctuated by flashes of complete absurdity. The game encourages you to relish these often shocking or brutal twists, which incite feelings of revulsion and confusion. They make you want to know more. These moments remain vivid in my memory even a few days after completing the game. A mindless horde of figures followed me off a cliff only to slam into the ground, creating a squelchy pile of flesh. A wispy, feminine creature tenaciously stalked me through underwater regions. I led my character to many deaths that were immediate and gruesome. I loved the game most during its quiet lulls when the oppressive feeling of the world was most apparent, but the in-your-face moments showed a different and darkly comedic side of Inside. I sometimes couldn't help but laugh at the sheer ridiculousness of what it threw at me. Solving puzzles can be as simple as moving a box up to the base of a high ledge in order to jump up to the top, or as complex as synchronizing multiple automatons to flip switches, lift objects, and move carts so that you can open a door. Some early puzzles rely more on cautious movement than logic as you attempt to avoid murder or abduction at the hands of masked figures. Later puzzles, on the other hand, require more patience and thought. Some make you open sequences of doors to move objects through a room, while others require delicately timed jumps or switches to complete. There comes a time when Inside leans too heavily on its puzzles to keep you engaged. In these moments, I felt that my driving motivation had shifted from exploring the world to simply flipping the right switch. It's a problem that plagued Limbo, and Inside nearly falls into a similar trap in its middle act when it takes you deep underground. You must complete the game's most time-consuming puzzles during its most narrative-light sections, and the suspense that the game worked so hard to build nearly falls apart. All of it--the setting, the sound, the beautiful art--builds to the discovery of the secret of this compound, but what I found at the end almost ruined the entire experience. Subtlety was thrown out the window and I was left reeling, unable to process the turn. The oppressive, quiet, slow-moving, and mysterious story that dominated most of the game changed in a flash of complete absurdity. I didn't know whether to laugh or yell in horror as Inside twisted in on itself. When the credits began to crawl, I sat in silence for a few minutes, unable to decide what to make of it. But as time passed, those final moments grew on me. I still find the ending somewhat odd, but upon playing through Inside a second time, I found endearing elements that fit with the overall story more effectively than I first thought. The ending is self-aware in a way that is simultaneously overwrought and humorous, poking fun at itself and at Limbo. It's also cathartic, releasing all of the tension that built over the rest of Inside in one scene. This is a beautiful, haunting, and memorable game, a worthy follow-up to Limbo. Its puzzles, although rarely difficult, are engaging complements to the story. The real achievement of this game, though, is the way that it crafts its narrative: detailed environments convey the bizarre world that you travel through; introspective moments are filled with minimalist sound design and just the barest touches of music; and the things you must do to complete your journey force you to confront the realities of humanity, freedom, and existence. The puzzles might not bring you back to play it again, but the opportunity to learn more about the world alone is enough motivation to return to Inside's dystopia. GAMEPLAY TRAILER

Hi all

Congrats For Global Moderator

good night guys.

kikiiiiiiii do you love me uglyyy xD

Check out my new giveaway!

I HAVE JUST BOOSTED THE ROYALZM @Holaa

si more global moderator o vlla ? e bleve apo qfar ?

There are times when I look at Los Santos and think 'why would you even think to build that?' This is, appropriately, a thought that I often have about Los Angeles. In GTA 5's case, the tone is different: baffled wonderment as opposed to baffled, y'know, despair. Rockstar have created one of the most extraordinary game environments you will ever visit. I look at it and I wonder at the vast expense of effort required to render every trash bag in every back alley just so. I marvel at the care evident in San Andreas' gorgeous sunsets, in the way that sunglasses subtly alter the colour balance of the world, in the artfully-chosen selection of licensed music designed to accompany your experience. Everything about Los Santos demonstrates the extraordinary amount of thought and love poured into it by hundreds of developers over many years. The abiding irony of Grand Theft Auto 5 is that everybody who actually lives in Los Santos hates it there. This is the most beautiful, expansive and generous GTA game and also, by some distance, the nastiest and most nihilistic. Rockstar went through a phase, in Bully, Grand Theft Auto IV and the sadly console-bound Red Dead Redemption, of framing their protagonists as anti-heroes. GTA 4's Niko Bellic did some terrible things, but he had a downtrodden charm that helped you like him as you piloted him through the underworld. He was surrounded by people who were larger-than-life but ultimately, beneath the surface, people. Among those people were some of Rockstar's better female characters—Kate McReary, Mallorie Bardas, The Lost and Damned's Ash Butler. Grand Theft Auto 5 does away with all of that, deliberately but to its detriment. Its trio of protagonists occupy a city full of vapid, two-dimensional caricatures, and they flirt with that boundary themselves. Michael is a middle-aged former bankrobber, unhappily married and on the edge of a breakdown. Franklin is a young hood, purportedly principled but willing to do almost anything for money. Trevor is a desert-dwelling, meth-dealing psychopath with a homebrew morality that sits uneasily alongside his capacity for violent cruelty and sexual aggression. The campaign explores their relationship through a series of heists and misadventures as they clash with every L.A. stereotype you might imagine—the bored Beverly Hills housewife, the corrupt fed, the bottom-rung fraudster, the smug technology exec, and so on. Against this backdrop, it's only Michael, Franklin and Trevor that appear to have any kind of internal life. I get the impression that this is deliberate, part of the game's relentless skewering of southern California and indicative of Rockstar's waning interest in romantic anti-heroes. Trevor's introduction, in particular, amounts to a particularly explicit '[CENSORED] you' to the characters and themes of Grand Theft Auto IV. GTA 5 is heartless in that way, and as a result I found the narrative difficult to care about. It is ambitious, well-performed, and the production values are extraordinary—but it is also derivative and brutishly adolescent, set in a world where the line between criminality and the rule of law is blurry but where it is always hilarious that somebody might be gay. It's an R-rated episode of The A-Team where the 'A' stands for 'asshole'. The campaign's best moments come when your cigar-chomping master strategist, insane former military pilot and talented driver come together, and when you're given the power to choose how to use each of them. These heists are set-piece missions where you pick an approach and perform set-up tasks in the open world before setting out on the job itself. In the best of them, which occur later in the campaign, it really does evoke the satisfaction of having a plan come together. Perhaps you position Trevor on the high-ground with a rocket launcher, Michael on foot with a stealth approach, and Franklin in an armoured ram-raider. With a button press you can flick between the three, dynamically orchestrating a crime caper on your own terms. It is also in these moments that Rockstar's most ambitious storytelling takes place. Your choice of character, crew, and even certain in-game actions have subtle effects on the dialogue. In an early heist, a crewmember dropped part of the score but, as Franklin, I was able to retrieve it—a side-objective that I'd set for myself but that was subsequently reflected in a later conversation between him and Michael. This is another example of Rockstar's extraordinary attention to detail, and if the rest of the campaign respected your agency in this way it might overcome its weaker moments.

Estas vivo??

#CSBD_MEMES #4 For members who're asking for new DJ Competition !! There you go :