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Faces of War Review It's surprising that developers are still finding ways to screw up World War II real-time strategy games. Games like the fantastic Company of Heroes should be the rule by this point, not the exception, seeing as developers have stacks of games to pick apart to see what works and what doesn't. Unfortunately, as Faces of War proves, this isn't the case. Many RTS versions of the noble crusade remain packed with flaws, including dull, derivative missions and control problems, and this game is no exception. Even though developer Best Way has already produced the well-regarded Soldiers: Heroes of WWII, here the company has made a primer on how not to make a WWII RTS. Faces of War hits all of the potholes that have wrecked similar games in the recent past, and it's driven into a few new ones. By now, you probably know the drill when it comes to World War II-themed strategy games. The solo part of the game features the usual three campaigns (there is no skirmish option), so once more you get to tear up Europe with the Germans, Allies, and Soviets. There are no surprises here, although the developer has thrown something of a curveball by picking up the war after the midway point of 1944. You come on board for the final stages of the conflict, so, for a change, there isn't a focus on the standard WWII-game headline battles like D-Day (which is represented in a bonus mission outside of the formal Allied campaign) and Stalingrad (which isn't featured here at all). Chances are that you've liberated Omaha Beach and blasted that infamous Russian city to rubble a few dozen times in other games already, though, so the (partial) absence of these engagements is refreshing. That's about all that is refreshing about Faces of War, though. Everything else has been scooped out of the big bag of WWII RTS game clichés with both hands. Gameplay is something of a cross between Commandos and a typical larger-scale WWII RTS. You take charge of a small squad of troops and don't have to deal with resource management or even minor management tasks such as ordering up reinforcements, but you do have to deal with large numbers of enemies. Overall, the designers have sort of hit the sweet spot between solving level puzzles and blowing the hell out of everything that moves. Still, missions all deal with tired, bog-standard objectives like blowing up radio stations, rescuing generals, detonating bridges, and stealing secret plans. There are lots of vehicles, gun emplacements, and tanks to hop into, plus loads of buildings to enter and use to set up shooting positions, but the end goals are still very, very familiar. You can choose to play assignments by either tactics or arcade rules, but both feel like a Sgt. Rock comic brought to life, with your squad going up against insane odds and stacking bodies like cordwood. Best Way seems to have compensated for the lack of unique settings by swamping every level with foes. Combat is fast and busy in such a never-let-up style that the incessant action soon begins to wear on you. Levels have also been overdeveloped to the point where you have no real freedom. They aren't as rigid or as puzzle-heavy as those you would find in one of the Commandos games, although there is typically just one way to complete objectives and usually just a single way to get there. You need to do everything in perfect order to activate a trigger spawning backups (like a column of tank reinforcements) or setting up the condition needed to take out the battalion of enemies that attack you at the end of each mission. A lot of levels feature extremely dissatisfying endgames that you don't control, where the cavalry shows up out of the blue like a deus ex machina, for example, or you suddenly win the day just because you managed to stay alive against withering enemy fire for a long-enough period of time. Often, these victory conditions aren't spelled out, so you're left mindlessly killing enemies in the hope that the level will eventually end. Also, if you don't follow the moves "suggested" in midmission officer voiceovers to the letter, you have no hope of winning battles. You don't even have a choice when it comes to taking on secondary objectives, as you always have to complete them ASAP or get shredded by hidden mortars, blown away by a King Tiger tank, or overwhelmed by enemies who often pour out of buildings like clowns out of a funny car. This is one extremely linear game in which everything feels scripted. Troop movement feels limited as well. Your squad is never completely under your control, due to an artificial intelligence that constantly interrupts commands. Sometimes this is a good thing, as soldiers seem programmed to seek cover whenever possible and you can readily position troops behind cover thanks to ghost images that pop up when you position the movement cursor behind rubble, walls, burned-out vehicles, and the like. But most of the time this trait just gets in the way, as the AI will do things like force a soldier to drop to a crawl or stop and return enemy fire when you're trying to get him to sprint to safety. At other times, soldiers won't respond to movement commands. They also seem to always leave cover and stand up to shoot, even when it isn't necessary. Troops also have an odd tendency of running into each other, or into the rubble that clogs almost every level, and freezing in place until you click a new destination that lets them escape their traffic jam. Most missions take place at least partially in closed-in city or town streets, so these movement snafus can lead to a lot of frustration. Faces of War does feature a more hands-on control mechanism called direct control (previously seen in Soldiers), where you can take charge of an individual soldier. It's too unwieldy to use, however, as you need to hold down the Ctrl key and use the arrow keys to move. You can switch it on and off with the End key, but this is arguably even more awkward as you can't move your squad properly with direct control on, and need to hit the button over and over again during the course of every mission. At any rate, using direct control effectively is pretty much impossible due to the zippy speed of most levels. So don't expect to get any use out of this option, except for those moments when you want to take a few potshots at a specific enemy sniper or a foe manning a gun emplacement. Visuals and sound cause more confusion. Best Way's Ukrainian roots are apparent in the horrible English of the mission briefings, which are frequently so off-the-wall that you don't quite know what's going on until you actually start the action. At least lines like "We Stand One" and directives such as the one to "withdraw the secret stuffing" from a radar base provide comic relief. Maps are loaded with detail, which makes for some truly authentic-looking theaters of war (towns really look lived in, with telephone boxes on corners and amenities like parks and water fountains) and loads of destructible buildings that go boom in an impressively cinematic fashion--but they wreak havoc on camera angles. You have to constantly swivel the camera and zoom it in and out to dodge the buildings, trees, and debris that block your sight every time your squad turns a corner. As this is one fast-paced game, it often feels as though you're battling the camera as much as you're battling the Wehrmacht, GIs, and Reds. All this detail seems to cause a lot of slowdown, as well. On any visual setting, the game bogged down at least once per level, typically in the midst of the huge, smoky final battles. Multiplayer is arguably the high point of the game. Co-op play for two to four players is supported for one-off missions, and there are eight traditional multiplayer modes of play including deathmatch and king of the hill, along with interesting variants like Chicken Hunt, where you compete to kill farmers and capture their finger-lickin' good livestock, and the Capture the Flag-like Battle Zones. Maps are on the small side and seem designed to spark conflict almost from the moment you spawn your units into existence. Getting into gunplay is also sped up as you have liberal access to vehicles and tanks in most modes of play, so you don't necessarily have to wait for your slower ground troops to make their way to the emerging front lines on foot. Lag is a bit of an issue at times, however, and matches are frequently interrupted as the server resyncs with the players. This can be pretty jarring, especially in the midst of a firefight, as units can suddenly appear or disappear. Still, there seem to be a fair number of people playing online, so it's pretty easy to hook up with a match. Trailer

Released: Steam Type: Single-player Genre: Simulation, Casual Adventure Developer: Placeholder Gameworks Publisher: Placeholder Gameworks Release Date: Feb 20 2020 The Premise : A new Grim Reaper recruit is here? Splendid! Welcome to your new job in an afterlife office! You are going to decide on who lives and who dies. You will do this by going through profiles of various people who are in dangerous situations, and based on their background and profession, you will decide who to save and who to end. Of course, there are also certain quotas to fulfil each day to keep the higher management happy, so don’t slip up, Reaper. You may begin your career as the judge of mankind! Story and Characters : The game revolves around only a handful of prominent characters. There’s you the Reaper, your somewhat snooty boss Fate, his mischievous cat Lady Pawdington, a cheerful pirate skeleton shopkeeper Mortimer, and your inner voice of doubt that you often talk to when looking in the mirror. The people whose profiles we mark we don’t really get to meet, and so they aren’t prominent characters. However, the majority of them have something interesting going for them, based solely on their profile, and many of them do have an effect on the human world which we do not get to see directly. So, why are we doing this job, you may ask? Are we trying to keep the world in order or are we just there to be a cog in a tightly-controlled bureaucratic machine? You will likely be asking this question as you find out more and more about the setting of the game and your role within it. Gameplay : So, our job is to mark profiles – either to doom them to death or to keep them alive. Seems simple enough on the surface, but has a lot more depth when we look more into it. First of all, the management gives us certain quotas, such as to make a certain number of people die each day or to have people of specific professions die. These quotas we can choose to follow to a tee or not at all, but each time we deviate even a bit, we get reprimanded by our boss and get no pay for that day’s work, and if we mess up too many times, we can even get fired. Another aspect we have to consider is the effect our choices have on the human world. We get a glimpse of those when reading news on the phone each day, which mention something about the people we’ve doomed or kept alive from the previous day. This, however, doesn’t tell us everything, and in fact the human world has several attributes such as economy, environment, and others, which get affected by all our choices. Some people’s existence or death will only have a small effect on those attributes, while others’ will have a very big one. So, this is also something we have to consider when deciding the fate of each person. In that sense, there’s a great deal of choice and consequence in the game, and even though we might not see the effects of our choices right away, they can easily mount up later on. The game takes place entirely within the corporate building – we work, sleep, and shop there. There is only one shop, which sells various items. Some of those items are purely for cosmetic purposes, such as to open up more options to customize our character’s look, while other items can be used as tools to help us when marking profiles. Some of those items can provide us with more information on the effects of our choices, which can be very useful, especially when replaying the game.

Welcome to The big House CSBD !!!

Happy ramadan for all the muslims ❤️

In lieu of the traditional review preamble, here's the answer to the question you're probably wondering about: Yes, Aliens vs. Predator 2 lets you save anywhere. In fact, the first game is so notorious for its end-of-level-only save system that the sequel has become the first shooter to proudly list its unrestricted save feature right on the box. Monolith, taking over the series from UK-based developer Rebellion, has also added a few other things that the first game lacked, such as a compelling campaign structure, an in-game server browser, some interesting multiplayer modes, and the ability to play all the various Alien life stages. About the only thing it managed to screw up was the unimpressive single-player demo released a couple of months ago. So in answer to your second question: Yes, Aliens vs. Predator 2 is better than its demo. It's better than the demo, it's better than the original Aliens vs. Predator, and it's one of the best action games released so far this year. The original Aliens vs. Predator was essentially a series of unrelated levels. It concentrated on creating a mood of relentless dread while relying on the well-developed and well-known Alien and Predator universes to provide an implicit story. For the sequel, however, Monolith has made a complete turnaround. Aliens vs. Predator 2 not only has a plot, but also has one of the most cleverly constructed plots ever attempted in a shooter. Each of the three seven-level single-player campaigns takes place simultaneously. The events that are made up of one especially bad day for the humans manning a research station on planet LV-1201 are presented from three different perspectives: an alien research subject, a member of a predator hunting party, and a colonial marine who is part of a squad sent in response to a distress beacon. Though each story is self-contained, all three intersect at certain points, and the results of actions in one campaign can be seen in the others. For instance, as the marine, you'll encounter a predator trapped in a cryogenic stasis pod, which you must move so that it can fit down a ventilation shaft. During the predator campaign, it's you in stasis watching as the marine works the pod controls, inadvertently freeing you. The game is filled with little crossovers like these, and it becomes almost like a minigame in itself just keeping track of them, if for no other reason than to appreciate the impressive level of thought that went into creating the story's complex underlying structure. Each of the three campaigns takes about four to five hours to complete, but what each lacks in length more than makes up for in density. A lot of content has been packed into these levels; every one is rich with scripted sequences and little unexpected play elements. As in Monolith's No One Lives Forever, virtually every set of human characters that you encounter can be found engaged in some sort of idle chatter, often about some chaos that you caused while playing as one of the other species. This chatter is especially evident in the Alien and Predator campaigns, which both involve a lot more fights against human opponents and a lot more sneaking around. Unlike in the original, large portions of Aliens vs. Predator 2 take place outside. The graphics are powered by the latest iteration of Monolith's Lithtech engine, and, while it has a reputation for being technologically somewhat behind the curve, it certainly gets the job done here. If objects occasionally appear a little blocky, the overall art direction--both in terms of its faithfulness to the films and the otherworldly look of the outdoors environments--is beyond reproach. As you stand on a high cliff and watch two perfectly rendered colonial dropships fly by you, bank left, and continue off into the distance, you'll quickly forgive a few too many squared-off desk chairs. The first game relied almost exclusively on moody lighting to support its somewhat simple-looking environments. The sequel, while not needing it so much as a crutch, continues the trend of fear-inducing lighting schemes. Red security lamps, strobe lights, and pitch-blackness are all put to excellent use. The shoulder-mounted lamps worn by most human soldiers are the game's best lighting effect. The lamps cast a cone of white light that points in whichever direction a soldier is looking. The effect is especially good when several guards are creeping around a murky environment, their lamp cones intersecting as they cross paths. The soundtrack is also excellent. It's a moody mix of ambient clanks and hisses, low bass hums, and screeching strings. The score dynamically changes to a more dramatic composition when you enter a battle. Strangely, it often switches before you're even aware that enemies have detected you, occasionally making the soundtrack a more effective danger signal than the marine's motion detector. The basic play mechanics of the original remain largely unchanged, with a few important exceptions. The marine is still the most familiar and the most fragile of the three species. He's been beefed up a little, however. Unprotected, he'll now last somewhat longer against an alien attack. His weapons are essentially the same satisfying mix of armaments from the movies, with the pulse rifle and the auto-tracking smart-gun being his standbys. A sniper rifle is the most notable addition to his arsenal. Unfortunately, it's basically unused in the single-player campaign; sort of absurdly, you pick it up literally about five seconds before the end of the last level. Since he's clearly meant to be part of a team, the marine's campaign suffers somewhat from a total lack of squad combat. The game teases you with the possibility that you might eventually fight shoulder to shoulder with your fellow marines, but they all tend to get killed just before or just after you come across them. The plot ends up relying on a lot of contrived circumstances to keep you alone, some more ludicrous than others. At one point, you have to open of series of doors for the rest of the squad, who all wait for you in the safety of the APC. You're told that one man "just might be able to make it through," though there's absolutely no evidence that three or four wouldn't have been a much safer plan. The predator has a few new weapons, most notably a net gun for trapping enemies and a remotely detonated mine launcher. Along with the original's medicomp, which transfers energy to health, the predator now has a device that also recharges his energy. This permits him to fully charge both his energy and health in between fights, and it ends up making him potentially more unstoppable than he was before. To counterbalance this, he's somewhat weaker now--just barely sturdier than the marine, in fact. The alien has undergone the biggest overhaul. Along with its standard tail and claw attacks, it now has a pounce attack that's essentially a superlong jump that causes hapless humans to explode on contact. To help line up jumps, the alien's heads-up display now includes a small aiming reticle. This reticle also helps in the successful execution of the alien's health-replenishing head bite, which is a lot easier to pull off now. Perhaps the biggest change to the alien game is the new ability to play as all of the various alien life stages. In the campaign's first level, you're a relatively defenseless face hugger scurrying through the shadows while looking for a host. Both the low perspective and the sneaking mechanic are handled perfectly, and the transition to the next stage is surprising, funny, and really satisfying.

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