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Game Informations : Developer: Tom Mc Shea Platforms: ps3, ps4 Initial release date: January 21, 2014 at 6:59PM PST The flames are maracas. Listen to their rhythmic shakes, but don't dwell for too long; the composition is just getting started. Roll toward the notes that lie flush against the nearby buildings. One, two, and then three drum beats layer on top, and your foot starts to tap. Missiles provide bass, pounding out a catchy riff as they fly across the screen, while the smokestack twangs a guitar melody. As the world awakens, the music begins to swell. Cities is a song that has stayed with me for more than a year, and whenever I revisit it, I'm transported once more by the infectious rhythm. The beat is so enthralling that I sit idly on rooftops, just letting it soak in. But it's the lyrics that cement this as one of my favorite stages. A platform hovers in the sky, flashing words such as "move," "twist," "hurt," and "lose" while Beck belts out the accompanying lyrics. I could listen to this for hours. I often feel hesitant to revisit a beloved game. How could reality possibly live up to the memories I have constructed? And yet, returning to Sound Shapes so long after reviewing it for the PlayStation 3 and Vita was like curling up in my cozy bed, free from the worries that dominate my waking hours. There's a cohesion to this experience that's uncommon in games. The music is everywhere. Trees chime, saw blades tick, and janitors sigh. Such sounds aren't music on their own, merely a backdrop beat, and it reminds me of how melodic life can be. Listen to the white noise of distant conversations while sitting in a park; hear the birds chirping overhead while the waves from a nearby lake roll in. It's the music of life--the rhythm that provides the foundation of every moment--that's always around if your ears are open. Sound Shapes harnesses this energy, and the results are magnificent. Worlds are alive. They breathe like sentient organisms, ignoring your existence as they let time carry on. But you're not just a bystander. As an amorphous blob, your abstraction allows you to blend into any environment. From the brisk outdoors to a bustling office and a bursting volcano, the environments feel like home to your nondescript character no matter how strange they become. And there are notes to collect, a way for you to contribute to the building score. So you roll along the ground, up walls and across ceilings, listening to the environment sing as you add instruments of your own. A piano is slowly added to the mix, along with a drum beat that wouldn't be out of place in a dance hall. In another land, a harp adds an ethereal quality that conjures images of angels smiling from above. The notes are all optional. You could skip them all if you merely want to reach the end. But why would you hinder your enjoyment? Every note further enriches the soundtrack, and it's a reward in itself to hear the songs evolve as you venture forth. Listen to the white noise of distant conversations while sitting in a park; hear the birds chirping overhead while the waves from a nearby pond roll in. Music is everywhere--everything--but the beauty of Sound Shapes goes beyond the auditory pleasures. You scout the two-dimensional environments for notes, not only because you want to add color to the songs, but because there is joy in movement. Your blob sticks to some surfaces, is repelled by others, and dies from anything that glows red. And as you learn your limitations, you appreciate how intricately designed the levels are. Maybe you ride across the treacherous pit on the tail of a missile, dropping onto an alien creature before you meet your end on a spiky trap. When you venture through D-Cade--an album whose music was created by Deadmau5--you dodge lasers being shot from the eyes of robots, moving quickly and precisely to clear each room before you vanish in a puff of smoke. By ensuring the action is every bit as fascinating as the music, Sound Shapes reaches you on both an emotional and a physical level. All of your senses tingle as you discover what lies ahead. When I first reviewed Sound Shapes in August of 2012, I evaluated the creation tools based on how accessible and robust they were. Laying down tracks and shaping environments is so easy that even I, an admittedly unimaginative designer, could craft something that at least approached competency. But I could only guess at how a talented community would handle those tools. Revisiting Sound Shapes gave me a chance to see how the user-created library has grown, and it has cemented this game as something truly exceptional. The core levels of Sound Shapes use a combination of music and difficulty to steer emotions. My sense of discovery was piqued in Corporeal as I chased cats to trigger platforms while viewing the corporate world through an abstract lens. Beyonder removes the shackles of gravity by placing me in a spacecraft, whereas D-Cade's amped-up challenge makes my heart race. The wide spectrum that the albums encompass is riveting, so much so that I have played through these tracks a half-dozen times just to feel those emotions again. But it's in the user-made levels that I now understand how much can be communicated through these simple tools. No Caption Provided Melancholia stands out from other stages in the greatest hits library of user-created stages. A crying child serves as the thumbnail, and there's a puddle of blood near his feet. The first section is ominous, making my breath catch in my throat. Half of the screen is filled with a red, pulsing gravestone. Etched on the face of it are the words "In Memory of My Beloved Son, Tom, 2009-2012" and "My Dear Wife, Liz, 1980-2012." Tombs dot the rest of your view, with white crosses marking each burial plot. Tom passed away when he was only 3 years old, and Liz was only a year older than me. How utterly heartbreaking. As you move onward, you learn the horrible events that have defined the last year for user jool2306: a lonely hospital room, a woman perched on a rooftop, and the depressing thoughts that must swirl in the mind of anyone who has suffered such losses. Was it possible that Sound Shapes provided an outlet for a grieving father and husband? Revisiting Sound Shapes gave me a chance to see how the user-created library has grown, and it has cemented this game as something truly exceptional. Community-made levels encompass a vast array of emotions, and many stand proud next to the developer levels. In A Walk in the Park, I rolled past snapshots of the quiet moments that I too often take for granted. A mother duck and her duckling ignore those around them as the mother passes on the secrets to survival to her hungry kin. In another scene, someone happily flies a kite, content to be alone in nature doing an activity that he loves. A couple walks hand in hand, off the beaten path into the trees where serenity thrives. In another level, Bastion, two robots wait for you to move, and they fire crisscrossing lasers if you try to sneak by them. These are just three of many incredible stages I discovered, and the range of emotions they deliver and the quality of the construction were impressive. So many games have amazing creation tools that are interesting to use but rarely result in anything worthwhile to play, but in Sound Shapes, you experience excitement or grief or any other of a wide range of emotions that makes you eager to see what else is out there. Sound Shapes is a remarkable convergence of music and platforming. Because I've played through the main albums so many times, the levels didn't hit me as powerfully as they once did. But the community levels hammered home just how singular and enthralling this game is. There is so much personality infused in these stages that I felt as if I understood the people who designed them, at least a little. And that's what great tools, and a great community, can do. Sound Shapes is a transcendent experience in so many ways. Maybe its most important contribution is giving a voice to the world through music and action. SYSTEM REQUIREMENTS Operating System: Windows Vista 32-Bit with Service Pack 2 and the KB971512 platform update. Processor: AMD Athlon X2 2.8 GHZ or Intel Core 2 Duo 2.4 GHZ. Ram: 4GB or more. Free Hard Drive Space: 25GB. Processor: AMD Athlon X2 2.8 GHz or higher; Intel Core 2 Duo 2.4 GHz or higher.

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If you are interested in mounting a PC, be it for gaming or for other uses, for this year of 2021 you will most likely have the dilemma in your heads whether to bet on AMD's Ryzen 5000 or Intel's 11000 range. Well, the prices and specifications of Intel Gen 11 have been leaked and we have ordered and compiled them for you. The eleventh generation Intel Core, based on the Rocket Lake-S architecture, are the last processors that the blue giant of x86 microprocessors will launch that are manufactured under its 14 nm node, in this case its most advanced version and the latest CPUs. compatible with the LGA1200 socket. The presentation of these CPUs occurred at their CES conference a few days ago, but they did not reveal the specifications of the different models and also the prices, as they only focused on the i9-11900K. But, if you are looking for such information we will provide it below. Full Specifications of Intel Gen 11 Desktop CPUs Rocket Lake Reverso Below we leave you in table form the different specifications of Intel's new range of desktop processors, which belongs to the eleventh generation of its Intel Core architecture, with the code name Rocket Lake-S. We hope that this information will be useful to you when assembling your own PC, or for a third party, based on Intel's eleventh generation processors, and choosing which model best suits your needs.

Windows 10X, the version of Windows designed to take advantage of the flexibility offered by the cloud, will have a different user experience than the normal version of Windows 10, as shown in the images of a new build. The Verge senior editor, Tom Warren, has shared a short video of the near-final build of Windows 10X, which shows the boot on a new computer with this version, the main screen and the start menu , which allow you to see what the user experience will be like. The aesthetics that this version shows is different from that seen in Windows 10, and stands out for being simpler and more direct. A bottom bar with four icons allows you to open the start menu, settings, the Microsoft store, the browser and the notification and quick settings window. Windows 10X was introduced at the end of 2019, initially as the version of Windows 10 dedicated to the new product category of devices with two screens, but the company rethought its development and announced that it would be aimed at new computers to take advantage of the potential of the cloud.

Game Informations : Developer: Daniel Starkey Platforms: PC Initial release date: January 21, 2014 at 6:59PM PST There's a special kind of fear that aliens can tap into. They are often unknown, unreasonable, and unrelenting. Many 4X strategy games are strongly tied to real events, people, and cultures in human history, but some of the best games in the genre are set in space against powerful and hostile alien races. Pandora: First Contact is one such game, and it takes heavy cues from games like Sid Meier's Alpha Centauri. While it is meant to be a respectful tribute, Pandora is laden with awful design choices and a confusing mishmash of old and new mechanics. The pieces that stand up are pulled directly from other, better games, and the original ideas aren't developed well enough to carry the experience. Pandora: First Contact opens with a smattering of people desperate to find a new Earth after decades of environmental destruction. The most prosperous societies have each launched their own expeditions, loosely representative of several modern-day nations and ideologies. These groups form the different factions and have their own vaguely defined play styles ranging from brutal, polluting industry to hyper-religious zealotry. Unfortunately, while they are thematically distinct, none of the factions stand out. Besides how the diplomatic options are phrased, and a few starting bonuses, they are all more or less the same. In my games, playing as the super-scientific faction wasn't terribly different from playing as the environmentalists. All of the units are the same, and the victory conditions are far too limited for any of your decisions to have much of an effect. There really is only one correct play style: extreme aggression. Civilization has often been lauded for allowing you to seek scientific, cultural, military, or even diplomatic victory, and each of these routes is supported by an entire system of mechanics that help support that path. These systems connect with one another and can be attached or separated, giving you an enormous amount of freedom in how you play. Those choices are meaningful because they are symbolic; they represent different and distinct ideologies. Pandora, too, has "different" victory conditions, but none of them are well developed. There is a scientific victory that amounts to having 75 percent of all possible research items complete. To achieve military victory, you have to take control of over 75 percent of the planet's populace. Unfortunately, the mechanisms by which you accomplish these conditions are nearly identical, and there's virtually no way to stop a player who's nearing victory. The element of choice and the ability to consistently have any efficacy or agency in the game is totally subverted by this design. The planet of Pandora is crawling with aliens when you first touch down, and it takes only a few turns for those forces to turn aggressive; unlike the barbarians from Civilization, these creatures are absolutely everywhere and are much, much stronger than any of your starting units. For example, a unit of marines has a starting combat strength of 2, while aliens range from 1 to 18, with 2 and 8 being the most common. How well you handle these early foes determines how much land and resources you have to work with in the mid to late game. While it is meant to be a respectful tribute, Pandora is laden with awful design choices and a confusing mishmash of old and new mechanics. Sadly, ignoring them isn't an option. Even if you never attack the aliens or show any sign of aggression, at a certain point they begin attacking you. Expanding and fortifying your armies, and then raiding alien hives for their massive cash reserves is the only way to play. Any land you don't grab for yourself is land a future opponent will use against you, and any aliens you don't kill feed the resources and experience of your rivals. This design choice forces the game into a two-stage system. The first stage is rapid expansion and extreme brutality against the indigenous aliens, and the second stage is focused more on developing the land you've claimed and steadily pushing back against enemies. While the first stage might be frustratingly limited, the second is fundamentally broken. In better-designed 4X games, much of the mid- to late-game conflict stems from resource scarcity. You need a specific plot of land that an opponent has; this causes conflict, which then buttresses the final stages of a match. In Pandora, land is certainly important, but expansion is agonizingly slow. Even on the fastest setting, with the exception of a handful of rare tiles, there's absolutely no scarcity. Aside from mountains, just about every tile can be converted into every other kind, and they don't carry the bottlenecking effect that's common in other games. Without scarcity, there's very little to fight over, and the monotony of expansion across hundreds of same-y tiles wears down to tedium very quickly. In place of a varied and interesting landscape, Pandora has a fairly robust unit upgrade and operations system. As you progress technologically, you have access to a wider variety of weapons and equipment for your various units. For example, initially your legions of marines only have access to their basic machine guns, but once you develop the flamethrower, you can bring marines back to a city to refit them with the latest gadgets. This is typically done for a significant cost, though, and can become overwhelmingly expensive when upgrading masses of units. Additionally, at each new stage of technological development, you also gain access to advanced versions of every unit. The colonial marine, your bread and butter, later becomes the assault trooper. After you've unlocked the next stage, it's often more practical to simply send your old units to their death at the hands of a foe and just start production on the next batch of souped-up soldiers To cut down on some of the banality of this cycle of production-upgrade-sacrifice, you can set your cities to crank out new units with the upgraded tech. This costs extra production time, but typically that's much easier to manage than trying to purchase all of the upgrades outright. Unfortunately, there's no system or mechanic allowing for the retrofitting of old units with new gear via production capacity, nor is there any way to take an old unit and make it into one of the newer variety. This is probably intended to be balanced by the experience system, which can dramatically enhance the combat effectiveness of older troops, but that loses relevance in the mid to late game because of operations. Without scarcity, there's very little to fight over. Operations can range from nuclear strikes and satellite scans to field training missions. They are produced much like standard units but are immediately consumed upon use. These field training missions are ridiculously cheap, particularly in the late game, and I often had one city of mine constantly producing them. After I finished a new batch of troops, I'd march them all to my most forward base, dump 10 field training missions on them to max out their level, and then let them heal up for two or three turns before marching out my legions of tanks, airplanes, and marines to conquer whatever stood in their way. It's much faster and less risky than trying to naturally level up fresh recruits, and it always ensured that my warriors would be at the top of their game. At the end of the day, unit management is bogged down by a plethora of underutilized mechanics. Instead of adding to the gameplay, they simply encourage you to abuse other systems to circumvent the poorly designed interface. That seems to be par for the course for Pandora. There are a lot of neat ideas here, but none of them pan out. The game's creators clearly adore 4X strategy games in general, and Alpha Centauri specifically, is clear here, but Pandora: First Contact is not a proper tribute. I want to love Pandora, I really do, but nostalgia can't fix a game that doesn't work even at the most basic level. system requirements Processor: Intel Core i3 or equivalent. Memory: 4 GB RAM. Graphics: OpenGL 2.0 compatible with 512 MB VRAM (NVIDIA GeForce GTX 260 series / ATI Radeon HD 4870 series) Storage: 2 GB available space

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That Intel is going to use factories outside of its own is something that should not surprise us, especially since it is a possibility due to the problems that Intel has had with its 10nm node. The latest rumor? The Intel Xe DG2 will be manufactured in TSMC, something that certain falsehoods already said but much more reliable sources have appeared giving the same information. If there is something that we find missing in the presentation of Intel in this CES 2021 that is being celebrated is the presentation of its second generation Intel Xe, known as DG2, of which the Xe-HP but especially the Xe-HPG are the most anticipated, the last being Intel's bet for the most enthusiastic gaming market with the aim of planting NVIDIA and AMD. Intel will use TSMC to manufacture the Intel Xe DG2 Intel Xe Render According to Reuters, an Intel chip called "DG2" will be manufactured under an advanced version of TSMC's 7nm node. Although this information is vague, we know that DG2 refers to the second generation of the Intel Xe and the version of the 7 nm node of TSMC could refer to the 6 nm node, which will be used massively by its rival AMD in the next months. Sources speak of a GPU for a graphics card that will be between $ 400 and $ 600, so everything indicates that it could be the Intel Xe-HPG based on a monolithic chip with a configuration of 512 EUs that has long been rumored as Intel's answer to AMD and NVIDIA in the gaming enthusiast graphics market. At the moment and according to Reuters, both Intel and TSMC have declined to respond. Production problems with Intel's 10nm? Intel wafer With the already announced launch of Alder Lake in the second half of this year, both in laptops and desktops, in combination with the announced production increase at Intel, what comes to mind is the following question: Does Intel have problems? to build your gaming GPU in your factories? The idea of using third-party factories by Intel is something that a few months ago sounded far-fetched, but we have to bear in mind that during the next few months it is very possible that Intel factories will be overloaded with their CPUs, which they will use in all the segments its 10 nm node. Intel's strategy can be as easy as leaving AMD a smaller share of production at TSMC, as the number of wafers that can be manufactured under a particular node is limited and companies like Intel, NVIDIA and AMD are scrambling to get a place on the production line of the powerful Taiwan Processor Foundry. The absence of Intel Xe DG2 at CES 2021 Intel CES 2021 Many of us expected to see the second generation of Intel GPUs, DG2, during this CES and we have been wanting to know more, but has Intel said anything else? In the words of Bob Swan in an interview with PC World we still do not have a specific date: The idea is to start with the integrated graphics and improve it, but to do it in a way that we can migrate to dedicated (graphics) more easily. They are based on the same design, during the last year you already saw the progress we made in integrated graphics and then we released DG1. Currently I do not know if we have given a date for DG2 or when we will launch it for data centers. Intel has not yet given a date for both the Intel Xe-HP and the Xe-HPG. In the case of the Xe-HP it is understood to be a consumer electronics fair but not with the Xe-HPG. If we consider that Intel has made a preview of its Alder Lake for the second half of 2021 without mentioning the Intel Xe-HPG this makes us think that Intel's dedicated GPUs could be a little further than expected.

Google is working on a feature that will allow unused applications to go into hibernation to free up space, and that will arrive with the next version of its mobile operating system, Android 12. The Android Open Source Project (AOSP) code shows some changes, picked up by XDA Developers, which introduce a new feature, an unused application hibernate mode. Hibernation, as the code explains, is "a state that applications can enter, which means that they are not being actively used and that they can be optimized for storage." The AOSP code does not provide more information on the number of applications that can go into hibernation mode, if the user can manage it manually or if it is set automatically based on application usage statistics. This hibernate mode is expected to arrive with Android 12, whose first preview version could arrive in February, if you follow the steps of Android 11.

Game Informations : Developer: Matt Cabral Platforms: PC Initial release date: January 14, 2014 at 2:11PM PST Dementium: The Ward was a flawed first-person frightener for the Nintendo DS whose shortcomings were generally overshadowed by the fact that it offered a full-fledged survival horror experience on a portable platform. Retaining its predecessor's most appealing elements, while fixing most of its problems, 2010's Dementium II cemented the series as a cult favorite among those who wanted to be scared on the go. Recently rereleased on the PC as Dementium II HD, the sequel has stepped up its visual presentation, but otherwise represents a shuffling zombie step backward for the franchise. To be fair, Dementium II HD isn't just another mindless undead shooting gallery. While its disturbing asylum setting is populated by its share of Resident Evil rejects, it borrows more from Silent Hill 2 than recent so-called "survival horror" fragfests like RE6 and Dead Space 3. As a mental hospital patient barely recovered from brain surgery, you must navigate the institution's appropriately creepy, creature-inhabited halls. From its bloodied walls and dilapidated medical equipment to the unsettling cackles and cries traveling down its dank corridors, the setting's sights and sounds are too familiar but still manage to create a milieu in which BioShock's Dr. Steinman would feel comfortable performing human experiments. Enemy encounters are similarly tired but serviceable. While a handful of foes--mostly of the boss variety--may sow the seeds of your future nightmares, the majority possess the kind of unnatural movements, misplaced limbs, and fang-filled maws we've come to expect from the genre's hell-spawn and virally infected freaks. Behind a well-balanced, varied arsenal that includes sledgehammers and sticks of dynamite among its choices, combat is satisfying, albeit not specifically fine-tuned for a gamepad; where the first-person mechanics offered some welcome novelty when using a DS stylus, they're merely competent on the PC. When not emptying ammo clips or engaging in up-close melees with the game's oozing cast of monsters, you tackle light puzzles and explore parallel worlds; the former activity is uninspired, tedious filler, while the latter sees you alternating between a twisted world of nightmarish monsters and a more realistic realm populated by baton-wielding hospital guards. The parallel-world concept is cool--even packing the occasional surprise and genuine goose-bumps-inducing scare--but without any interesting character interactions or strong narrative support to speak of, it comes off a bit like a forgettable B movie. The core adventuring, comfortably freakish foes, and trite story and setting are pleasantly familiar at best, and dated and unmemorable at worst. That same sentiment sums up most of the Dementium II HD experience. It's by no means a bad game; it's just a painfully subpar one. The core adventuring, comfortably freakish foes, and trite story and setting are pleasantly familiar at best, and dated and unmemorable at worst. As promised in the title, the visuals have received a makeover; slicker lighting and smoother textures, however, aren't enough to make this high-res facelift look particularly up to date. The game's portable roots also reveal themselves in its brevity. Originally crafted for the handheld, its four- to six-hour campaign felt right for mobile players craving bite-size play sessions; on the PC, though, its length serves as yet another reminder that this was a game meant to be played on the subway or in the dentist's office. More specifically--at least for this longtime fan--the Dementium series was one to be relished in the wee hours, preferably under the covers on a cold night with the lights out, earbuds securely inserted. Three years ago, splashed across the DS's dual screens, Dementium II--and even the game that spawned it three years prior--was a novelty, a dedicated first-person survival horror experience exclusive to a platform that didn't offer anything else like it. Brought to the current gen and blown up on the big screen, though, this cult classic is left gasping for air in a sea swimming with bigger, better competition, both classic (Call of Cthulhu: Dark Corners of the Earth) and contemporary (Outlast) If you've exhausted Steam's survival horror library, Dementium II HD will scratch your genre itch. Unfortunately, that itch has already been rubbed raw by much better games. System Requirements OS: Windows XP/Vista/7. Processor: Intel Core 2 Duo E6750 2.66 GHz / AMD Athlon II X2 245e. Memory: 2 GB RAM. Graphics: Nvidia GeForce 8800GT / AMD Radeon HD 5700. DirectX: Version 9.0c. Storage: 4 GB available space. Sound Card: DirectX Compatible.