Peru's country risk closed today's session at 1.17 percentage points, adjusted after closing, down five basis points from the previous session, according to the EMBI + Peru calculated by investment bank JP Morgan. Peru (1.17 percentage points) reported the lowest country risk in the region, followed by Colombia (2.53 points) and Mexico (2.85 points). Indicator The EMBI + Peru is measured based on the difference in the average yield of Peruvian sovereign bonds against the yield of the US Treasury bond. Thus, the political risk and the possibility that a country may default on its payment obligations to international creditors are estimated.

Game Informations : Developer: James O'Connor Platforms: PC Initial release date: February 28, 2018 at 8:00AM PST Where the Water Tastes Like Wine defies any sort of comparison to other games. You're tasked with collecting stories and building up folklore across Dust Bowl America, wandering across the land and briefly involving yourself in other people's lives. You're collecting tales so that you can share them with other wanderers who are moving across the country and eventually appease an anthropomorphic Dire Wolf (played, amazingly, by Sting) who, in the game's opening cutscene, beats you in a card game and sets you to work collecting these folk stories as payment for the debt you now owe. It's a wholly unique premise for a game, but not necessarily one that reaches its full potential. You guide a skeleton avatar around the map, moving between states by foot, by train, or by hitchhiking, and collect stories when you encounter them. These are folktales by and large: animals will talk to you, children will be all-knowing (and often touched by evil in some way), you'll meet ghosts and dying men and people capable of impossible feats. Some will stick with you, offering creepy imagery or neat twists, and others will fade from your memory soon after you hear them, but the hit-to-miss ratio of the 219 stories on offer is pretty high. The tales you collect fit into one of four basic descriptors: hopeful, tragic, funny, or adventurous. These categories become important as you work your way through the game's main objective--uncovering the life stories of various fellow wanderers. Campfires around the map house other travelers who will exchange their own life stories for some of your collected tales. The characters cover a spectrum of gender, race, sexuality, and your goal is to visit each person as they move between campfires, telling them stories they like, and eventually encounter their "true" selves, having learned everything you can about them. The real reward isn't so much the folktales themselves as the artwork of these final encounters--seeing each figure twist into an artistic representation of their own character's struggles or values is a highlight. Once you've spread your tales among these campfires, they start to mutate, and you'll begin to encounter retellings of your tales that add or change details as you travel. Telling someone who asks for a scary tale about a demon you met might end in you being chastised for telling a "cheerful" story, while a seemingly hopeful tale about a journalist who always sees the bright side is classified as funny, but as these stories evolve, they become more cheerful and funny, respectively. These versions will have a more significant impact on your future campfire visits and will make it easier to appease wanderers and unlock the next chapter in their story. It can also cause the tale's classification--which you have to decipher--clearer, which is helpful, because it's frequently hard to tell and remember. After a few hours you get into a good rhythm of uncovering and sharing stories, and the way the game works eventually becomes clear (it's light on instruction). But there's a problem here--you soon realize that wandering the map, listening to stories, and slowly heading towards the next destination is really all there is to do, and with no satisfying overarching narrative to keep you going, the excitement of the process quickly begins to diminish. The game opens by spreading North America out in front of you to explore, and suddenly starts to look incredibly narrow as it becomes clear that you're going to spend the rest of the game just clicking through other people's stories and slowly trudging between campfires. It doesn't help that getting around the map can be an extremely time-consuming process. Your avatar walks slowly--you can speed up by whistling a song, but this involves a "press direction keys in order" mini-game that ultimately feels like busywork. You can hitchhike, but roads only go one way, and the controls for hitching a ride are inconsistent--sometimes I could hail down a car, while other times my avatar refused to stick its thumb out. Rivers will slow you down, and using trains requires either money or hopping on one without paying. Doing the latter usually ends with you getting injured and dying, and although death isn't a big deal here, it will reset you to the last town you visited, which usually undoes the train ride's progress. Once you've heard half the game's stories, you start to see where each tale is going from the first paragraph, and it's much easier to find and identify sad or scary stories than hopeful or adventurous ones. When you've had a few dozen tales retold and figure out which classification they fit into, you don't really need to worry about gathering more, either. You can rely on the same handful of tales, both because they're the easiest to remember the details of and because the game doesn't really incentivize diversifying your repertoire, especially since the stores you accumulate at campfires act as wildcards during future encounters. If you're asked for a tragic story, for instance, selecting any of the tales told by someone you encountered at another campfire will make you tell that story while "focusing on the tragic parts." I cleared almost every final encounter by just telling stories from other wanderers, and you don't get to experience this retelling--you just select the option from the menu and get a brief reaction in response. Over time, even the best parts of the game start to grate. Ryan Ike's soundtrack, which mixes elements of jazz, bluegrass, and folk music, is excellent, and a great companion for the first few hours. But when you're engaged in yet another long trek across the plains, it's hard to resist switching over to your own music. By the end, I was rushing through the stories of the remaining campfires because I just wanted to see what happened when I'd collected them all, and I was skipping over new stories because it had become difficult to keep caring about them. I spent 12 hours working my way around the America of Where the Water Tastes Like Wine, but after the first six hours I felt like I had gotten everything I wanted out of the game. Most of the rest of the time was spent checking the map to figure out where the next campfire was, holding W to move forward, and then clicking through dialog (all of it brilliantly voice-acted, but patience only stretches so far) until I was able to appease the Wolf. If the basic premise of gathering folk stories across a version of 1930s America strongly appeals to you, then Where the Water Tastes Like Wine is worth a look, but it's probably not worth finishing. Perhaps one day I'll feel the urge to jump back in and encounter a few more tales, but Where the Water Tastes Like Wine, for all its interesting ideas and unique elements, outstays its welcome. System Requirements CPU: Intel Core2 Duo E4500 (2 * 2200) or equivalent/AMD Athlon 64 X2 4200+ (2 * 2200) or equivalent CPU SPEED: Info RAM: 1 GB OS: Windows 7, 8, 10 VIDEO CARD: GeForce 8500 GT (512 MB)/Radeon HD 4350 (512 MB) PIXEL SHADER: 4.0 VERTEX SHADER: 4.0 SOUND CARD: Yes FREE DISK SPACE: 6 GB DEDICATED VIDEO RAM: 256 MB

The remote work will last until July 31, 2021, announced today the president of the Council of Ministers, Pedro Cateriano, during his presentation in the Congress of the Republic. "Remote work will be extended until July 31, 2021. To date, more than 220,000 'remote workers' have been registered, avoiding the risk of contagion of covid-19 in the work centers," he said. Pedro Cateriano acknowledged that the covid-19 crisis caused the massive loss of jobs, which is why the Government will apply measures this year to prevent the destruction of more jobs and promote the creation of decent jobs for more Peruvians. “In the last year, in Lima alone, nearly 2.7 million jobs were lost. However, the restart of economic activities and the progressive recovery of various activities and industries have allowed the recovery of nearly 2 million jobs, "he said. However, it is noted that the increase takes place mainly in informal jobs. This situation shows the existence of a high risk of job insecurity, which implies that many workers move to a situation of greater vulnerability, "he added. The Prime Minister emphasized the urgency that economic revival be accompanied by incentives to create and sustain more and better formal jobs, with social protection, always aiming at people's well-being. "In this sense, we will adopt measures that will facilitate the continuity of work activities in a safe way and will enable the fulfillment of labor rights despite the context of crisis," he said. Perfect suspension Pedro Cateriano argued that the perfect suspension of work (leave without pay) was established as a temporary mechanism that seeks the sustainability of companies, which are the main engine of job creation, preventing them from being forced to adopt measures more burdensome, such as the termination of employment contracts or the dissolution and liquidation of the company. “To date, approximately 50% of perfect suspension requests have been resolved nationwide. Also, for the workers who are part of this measure, the Government ordered the granting of an economic benefit for emergency social protection, whose payment procedure began two days ago, on August 1, ”he said. In addition, the head of the Ministerial Cabinet maintained that the crisis derived from the pandemic has caused problems of involuntary non-compliance in the payment of social benefits.

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The Ministry of Health (Minsa) reported on the night of Friday, July 31 that the number of positive cases of the new coronavirus (COVID-19) in the country rose to 414,735. It is 7,243 new infections, in addition to the 407,492 accumulated until Thursday. On July 30, 30,142 tests were performed, 23,628 (78%) of which were rapid tests and 6,514 (22%) were molecular tests. From the universe of rapid tests, 6,264 were positive, giving a percentage of positivity of 26.5%. It should be remembered that the Executive Branch published on July 31 the norm that establishes the extension of the state of emergency and the quarantine focused until August 31 to mitigate the advance of the new coronavirus (COVID-19) in the country. The norm establishes that compulsory social isolation is maintained in five regions and in 20 provinces in 10 other departments. The quarantine is maintained in five regions of the country: Arequipa, Ica, Junín, Huánuco and San Martín; and also in 20 provinces in 10 other regions. In areas where targeted quarantine is maintained, mandatory social restraint (curfew) is in effect from 8:00 p.m. until 4:00 a.m. the next day and Sunday, while the immobilization is all day. The state of emergency came into effect on March 16, the date from which the exercise of constitutional rights related to personal freedom and security was restricted. Also that of the inviolability of the home and the freedoms of assembly and transit in the territory.

Game Informations : Developer: Mike Mahardy Platforms: PS4 PC XONE Initial release date: November 30, 2015 at 4:16PM PST Just Cause 3 makes no apologies for its outrageous nature. It's a power fantasy in every sense of the phrase, placing you in a world rife with destructible environments and giving you creative instruments with which to destroy them. There are intermittent technical problems, and scripted moments detract from the freedom found elsewhere, but in the end, Just Cause 3 provides a spectacular, explosive sandbox experience. The plot revolves around returning protagonist Rico Rodriguez, who's arrived in the fictional Republic of Medici during the height of Sebastiano Di Ravello's military dictatorship. The story here is forgettable, but delivers an effective invitation: dozens of military installations cover the world map, and it's your job to blow them up for the rebel forces. This video has an invalid file format. Report a problem Rodriguez himself is a mashup of masculine action stars and comic book characters, so it makes sense that I often felt like a superhero in his shoes. By supplying you with a wingsuit, parachute, and grappling hook, Just Cause 3 gives you an effective means of transportation, as well as a smooth, nuanced traversal system. There is a steep learning curve, but with practice, I was leaping from helicopters, gliding through enemy bases, and floating over farmland with ease. It's thrilling to leap from a cliff, free-fall for 10 seconds, grapple to a nearby rock, and use the momentum to launch back into the air with parachute deployed. Rico actually felt like a hero learning his new skillset. It's as if Avalanche Studios combined Batman, Spider-Man, and The Punisher, and thrust its creation into a vivid Mediterranean landscape. What follows is a collision of spectacle and scale. Helicopters dot the sky. Explosions chain across the screen. Combining a parachute and grenade launcher transforms Rodriguez into a floating artillery battery from above. In a world teetering toward total destruction, Just Cause 3 grants you the tools to push it over the edge. The traditional grenades, remote mines, and numerous land, air, and sea vehicles are all on call in the rebel arsenal. Then there's the tether: this grappling hook modification attaches two separate objects, and flings them toward each other, often with hilarious results. Rodriguez can reel enemies toward explosive barrels, collapse watchtowers, and pull attack helicopters into a fiery end. It's a testament to this game's creativity that guns were my last resort. There's a sequence in Just Cause 3 in which a fleet of helicopters pursue you over a mountain range. In any other game, I may have resorted to the RPG slung across my back. But in keeping with this game's lack of convention, I grappled to the nearest attack chopper, pulled the pilot out, and assumed control in his place. Just Cause 3 makes you feel like Batman, Spider-Man, and The Punisher combined. But that somehow still felt too normal. So I evacuated my helicopter mid-air, opened my wingsuit, glided toward another nearby enemy, and grappled to his chopper door. By repeating the process, I ditched helicopter after helicopter, sending both pilots and machines soaring into the mountain range below, all without firing a single shot. The game provided no hint to this approach. I just devised a plan and watched it unfold. Just Cause 3 doesn't nudge you in one direction or the other--it shows you the possibilities, and gets out of the way. Like all of Just Cause 3's best moments, the tether encourages experimentation, rather than thoughtless reaction, and as the hours passed, the destruction remained creative and unpredictable. New domino reactions and car crashes were always on the horizon. It's a small mechanic, but its effects can be massive, and it encapsulates what makes Just Cause 3 so fun. Even now, after 30 hours in this idyllic sandbox, I'm sure I haven't seen every use for the tether. And just when it seems the well of experiments might be running dry, Avalanche Studios adds variety to proceedings. As you liberate new provinces from enemy hands, challenges pop up across the map, including vehicle races, machine gun score contests, and wingsuit dives. They're fun on their own, but they're also well worth pursuing. By completing these, you'll unlock new gear mods, which change the functions of certain items While some of these are minor, such as increased grenade capacity or a nitrous boost for vehicles, others reveal dynamic new ways to experiment in Just Cause 3's sandbox. Take the rocket boost mines, for example. Whereas previous iterations of the device just detonated at a chosen time, this modification sends objects careening into distant structures before exploding. I used this on cars numerous times, creating two-ton bombs that flew toward enemy fuel tanks with increased velocity after I dove from the driver’s seat. This cascading structure is what makes Just Cause 3 so great. There's a cadence to how you approach its world: outpost liberation leads to challenges, which leads to gear mods, which leads to experimentation. And more often than not, each tier of this formula is entertaining in itself. That each flows so well into the next makes the overall experience all the more rewarding. Just Cause 3 excels because it adds variety to the equation throughout, making destruction and mayhem entertaining far past the early hours. However, Just Cause 3 does deviate from its open-world freedom at times, and when it does, it falters. The scripted story missions progress the plot, but the actual gameplay involved is repetitive at best, and broken at worst. Despite its spectacle, Just Cause 3 is filled with bugs, bad AI, and other rough edges. The vast majority of these tasks are escort missions, in which you defend a plane, or boat, or caravan of jeeps. Protecting another character can be tiresome to begin with, and because their behavior is unpredictable and often unintelligent, I restarted checkpoints far more than felt fair. Halting progress because of my own mistakes is one thing, but when it was out of my hands, my patience grew thin. Just Cause 3 is also filled with bugs and other rough edges. The parachute closed at random, cars disappeared while moving, and AI behavior made several story objectives impossible for a short time. One mission required me to steal a prototype combat tank from Di Ravello's forces, and extract it by boat to the hidden rebel base. However, the boat was too far from the dock for me to board it, and I had to reload the previous checkpoint. It repeated the same mistake twice more after that. For a game that places death front and center, it was often inconsistent with whether I should die. I'm happy Just Cause 3 is lenient with its falling damage--considering I'm in the sky more often than not--but I survived a 500-foot fall at one point, only to die from a shorter one soon thereafter. These mishaps would be easy to overlook if they didn't disrupt an otherwise fluid experience too often. When Just Cause 3 is consistent, however, it's a stunning display of cause and effect, as watchtowers topple into fuel tanks, which blow up nearby helicopters, which sail into oncoming vehicles. I often spent hours setting up outlandish chain reactions, or trying new gear mods, knowing full well I wasn't making any progress in the traditional sense. I was content to just sit back and marvel as it all happened. But there's a more thoughtful undercurrent as well. Despite the explosions and instant gratification throughout, Just Cause 3 also encourages experimentation and foresight, planning and careful approaches. The results are as rewarding as they are entertaining. Editor's Note: The majority of our time with Just Cause 3 was spent with the PC version, followed by several hours on both PS4 and Xbox One. Based on the review builds provided, the game performed better on PC, with higher and more stable frame rates, fewer bugs, and better looking environments. However, the problems did not affect the overall experience enough to impact individual scores. System Requirements (Minimum) CPU: Intel Core i5-2500k, 3.3GHz / AMD Phenom II X6 1075T 3GHz CPU SPEED: Info RAM: 8 GB OS: Vista SP2 / Windows 7.1 SP1 / Windows 8.1 (64-bit Operating System Required) VIDEO CARD: NVIDIA GeForce GTX 670 (2GB) / AMD Radeon HD 7870 (2GB) PIXEL SHADER: 5.0 VERTEX SHADER: 5.0 FREE DISK SPACE: 54 GB DEDICATED VIDEO RAM: 2048 MB Recommended Requirements CPU: Intel Core i7-3770, 3.4 GHz / AMD FX-8350, 4.0 GHz CPU SPEED: Info RAM: 8 GB OS: Vista SP2 / Windows 7.1 SP1 / Windows 8.1 (64-bit Operating System Required) VIDEO CARD: NVIDIA GeForce GTX 780 (3GB) / AMD R9 290 (4GB) PIXEL SHADER: 5.0 VERTEX SHADER: 5.0 FREE DISK SPACE: 54 GB DEDICATED VIDEO RAM: 3072 MB

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Game Informations : Developer: Miguel Concepcion Platforms: PC Initial release date: May 31, 2017 at 4:42PM PDT Perception is technically a scary game. You explore a mansion in near darkness due to the limitations of blindness, driven by the curiosities of a brave young woman. The persistent scarcity of light creates the illusion of a labyrinthine home which complements the spookiness of both its harmless and homicidal spirits. It's an environment that especially caters to those fascinated by the things we leave behind and the often disturbing stories these objects can tell. Yet, despite what my goosebumps can attest, Perception made me realize that it is possible to not care about being scared. A series of dreams has compelled protagonist Cassie to visit a house in New England sight unseen. While this is a solitary investigation, the supernatural forces that draw her into the depths of the estate--not to mention her boyfriend who is a phone call away--adequately convey the positive message that while she lives a life in darkness, she is never alone. Cassie overcomes her vision-impairment with advanced tools to get around and an acute awareness of her surroundings. While she carries two devices that help her decipher objects she picks up, Cassie relies mostly on echolocation, the ability to use sound to determine the location of nearby obstacles. This is her primary means for getting around a pitch-dark mansion. Footsteps allow you to see your immediate surroundings (about two feet in front of you), while tapping your walking cane brief reveals a much larger area. The catch is that making too much noise alerts a hooded spectre known as The Presence. It's Game Over if you're captured--and, judging by the sound effects, eaten--by this phantom. The threat of the Presence functions as a deterrent to mashing the cane button as you move around. This visual limitation is an inventive method that preserves some of Perception's challenge. Getting caught by The Presence isn't the sort of penalizing experience that would motivate you to take escaping more seriously after each death. You always respawn in the same spot--the foyer--and since this isn't an especially large mansion, resuming your progress toward the next waypoint takes little time. In fact, dying--as opposed to hurriedly searching for a hiding spot--might even serve as a perk, since respawning in the foyer oftentimes brings you closer to your next destination. The end result is a sense of apathy for being caught. You're left wondering why this fail state exists to begin with. The softening of Perception's difficulty doesn't end there. Cassie also has a conveniently keen sixth sense in knowing the location of your next waypoint. This supernatural talent isn't adequately explained and primarily functions as a hint system for whenever the player gets stuck. At first, using this waypoint detector feels like cheating--that is until you learn that not relying on this sixth sense would make for a frustrating playthrough, partly due to Cassie's limited vision and especially because of the dearth of clues that tell you where to go next. As much as the deciphering of objects presents an often colorful history of this house, they seldom help you reach your goal. So there's no middle ground; neglecting this sixth sense makes progress very difficult, and revealing these waypoints reduces the overall playthrough into a boring checklist. While Perception's ghosts will convince you that there are supernatural forces at work in this house, the surreal time travelling drives the point home. By solving simple puzzles and completing the main objective for each chapter, you're transported to an older version of the house, each loaded with their own nostalgia-tinged flavor. And with each incarnation of the estate comes new sets of disturbing visuals in an attempt to sustain Perception's idea of horror. Disappointingly, the third, 19th century version of the house relies heavily on one of the lowest hanging fruits of horror imagery: dolls. Perception eventually doubles down on this trope by giving them--of all things--guns, firing at you on sight. Like the tapping of your cane, the gunfire easily calls the attention of The Presence and ruins what would have otherwise been an intriguing sneaking mission as you try to hide behind columns and furniture. If you can put up with these funhouse-style shenanigans, you're rewarded with the creepiest version of the house: a dilapidated colonial abode where the floorboards creak with every step. Besides the faint surroundings of what the echolocation reveals, many of Perception's actual sound effects add tension to a playthrough that is often bereft of suspense. The positively liquid sounds of treading knee-deep in mystery fluid or the squishiness of stepping in mud can make one wince. The walking cane itself, however, proves to be obnoxious despite its utility. Depending on what surfaces you hit, the cacophonous taps and the repeated clangs produce the kind of noises that would annoy anyone. You can't blame The Presence for wanting you to stop that racket. Along with Cassie's journey of self-discovery, Perception is also about how we leave traces of ourselves in places we no longer inhabit. Its engaging moments--of which there are few--marry metaphors of regret with heavy-handed symbolism. Much of this theme is conveyed through the objects our heroine discovers and the messages these items retain. Although the various incarnations of each house have their own sense of character, their confining designs and the looming threat of The Presence limit opportunities to savor an exploratory experience that would have been reminiscent of the acclaimed Gone Home. Perception feels like a lost opportunity to showcase the beauty of mundanity. The routine-like flow of going from goal to goal as you rely on Cassie's sixth sense feels like a series of chores lacking in stimulation. And while reaching the end rewards you with an additional thematic message that no one could have anticipated, it doesn't redeem the game from its lack of nuance and overreliance on hand-holding waypoints. System Requirements Processor: Dual core CPU @2.4 GHz + Memory: 4 GB RAM. Graphics: NVIDIA GeForce 470 GTX or Radeon 6870. Storage: 7 GB available space.

The Executive Branch decreed the extension of the State of National Emergency until August 31 in order to contain the spread of coronavirus infections in the country. In addition, it extended the targeted quarantine until the same date but with modifications in relation to that established during July. The quarantine is maintained in five regions of the country: Arequipa ,, Ica, Junín, Huánuco and San Martín; and also in 20 provinces of 10 other departments. So that you don't get lost, you can consult the following table and find out if social isolation (quarantine) is still in force in the town where you reside. You should also keep in mind that in areas where the targeted quarantine is maintained, mandatory social restraint (curfew) is in effect from 8:00 p.m. until 4:00 a.m. the next day and Sunday, immobilization is all day. The state of emergency came into effect on March 16, the date from which the exercise of constitutional rights related to personal freedom and security was restricted. Also that of the inviolability of the home and the freedoms of assembly and transit in the territory.

Since the government imposed a state of emergency on March 16, many industries suffered immense economic losses and even had to declare various companies bankrupt. The Tourism sector was, without a doubt, one of the most affected, mainly due to the closure of international and departmental borders. In the first instance, the hotels only provided their facilities to quarantine people arriving in the country via humanitarian flights. However, since phase 2 of the resumption of economic activities began, the hotels gradually recovered their functions. Since July 15, hotels and hostels can already open their doors to visitors, albeit with very strict sanitary protocols, ranging from constant disinfection of spaces to temperature taking and other indicators of guests. The idea is not that people use hotels for leisure, but because they are moving around due to labor or humanitarian issues. On the other hand, the capacity of the establishments -both hostels and hotels- must be reduced and all the services offered -restauration, for example- must absolutely respect all the measures indicated by the Ministry of Health and the Ministry of Tourism.

Game Informations : Developer: Miguel Concepcion Platforms: PC Initial release date: March 31, 2017 at 7:00PM PDT Rain World effectively illustrates the cruel indifference of nature. As a half-rabbit, half-slug creature trying to reunite with its family, you start smack dab in an unfamiliar land with an ecosystem where you're both predator and prey. Rain is a threat to your survival, but it pales in comparison to the game's many hunters and, unfortunately, unforgiving environments. Rain is to blame for the rabbit-slug's isolation to begin with. As the opening cutscenes illustrate, the storms are what separated the poor creature from its family. The resulting quest to reunite with its loved ones is a long and arduous 2D trek that challenges you with limited resources and abilities. Your most useful skills are the ones you start with, namely a good throwing arm and a long jump. Ultimately, these are all you need to reach Rain World's end, though the game's pervasive threats made me crave more skills. If you get caught in the rain, you die. The only way you can survive is if you manage to reach one of the game's many waterproof shelters. Once you reach a shelter, however, you're forced into hibernation, and surviving the long sleep requires consuming a minimum of four food items, be it flies or fruit. A screen's worth of fruit or flies--assuming there are some available--often provides the food you need but it takes a few hibernation periods to replenish. As a result, you're often compelled to explore beyond your comfort zone for other food sources. Comfort is a relative term in Rain World. You can commit a region's layout and myriad paths to memory, but you're still vulnerable to many merciless predators. Their locations on the map change every time you emerge from slumber. This typically sustains a moderate level of freshness in each play session, though it's not uncommon to find yourself in punishing and unfair situations. Some creatures--like the giant vultures--appear with little to no warning. And if your timing is unlucky, a vicious lizard can be waiting for you at the edge of the next screen, leaving you with no opportunity to react, let alone escape. In a game that forces you to mentally juggle numerous variables to survive, these unpreventable deaths can feel exceedingly frustrating. If you do manage to create distance between you and a lizard, the ensuing chase can be hampered by platforming issues. Rain World's tutorial offers minimal instruction and learning how to interact with the environment can be vexing. A seemingly simple act like jumping off a bridge to grab a metal rod jutting from the concrete should be easy. Instead, you're forced to move with the finesse of a trapeze artist, the feeling of which is at odds with the urgency of escaping a pursuer you have no chance of defeating. Survival is a layered experience in Rain World, sometimes to the detriment of your enjoyment. Aside from the demands of reaching shelter with enough food in your belly, forward progress is impeded by gates between each region. Passing those gates requires maintaining a positive win-loss record--in other words, your hibernation frequency has to be higher than your death rate; a seeming bizarre and arbitrary requirement. Given all the game's other demands, this method of proving your worthiness feels harsh and nonsensical in practice. Having to forage and hibernate for the sole purpose of passing a gate feels disrespectful of the player's time since there are no other rewards for killing and eating. As a result, there's a heightened sense of relief in reaching a new region. As you explore each new area, you're hit with a renewed feeling of resignation and acceptance of the many deaths you'll soon rack up as you reach dead ends and find the mainline path to the next gate. In an unfair process of trial and error, you make leaps of faith off cliffs to test whether falling beyond the bottom of the screen means your death or the discovery of a new area. And when you find a new gate, the tiresome process of hibernating for the privilege of passing that gate begins anew. The silver lining of forward progress is that you're continually treated to the unique and striking visuals of Rain World's ruined landscape. The surreal creature designs, combined with the lack of humans makes this world feel both eerily lonely and alien. It carries the same imaginative spirit of games like Bioshock and Abzu, where you're too preoccupied admiring the artistry to question the logistics of how these man made environments were constructed within the fiction. One of the tragedies of Rain World's shortcomings is that you don't need to dig deep to see glimmers of excellence. There are a handful of satisfying moments of exercising ingenuity when you're using your environment and limited resources to your advantage. You can lure two predators into the same area, and the resulting fight between the two will give you an opportunity for a discrete escape. A stick is primarily intended to stun predators, but it's also useful as a climbing point if you throw it against a wall. Rain World shines during the rare moments that encourage improvisation, like when you grab and haul a glowing mouse-like creature against its will so you can use its body to illuminate an otherwise pitch black area. In Rain World, the spectre of failure, often caused by events you can't control, lingers heavily. It quickly drives home the point that you're a foreigner in a ruined land where anyone larger than you wants to eat you. Its stunningly detailed backgrounds and few rewarding gameplay opportunities are vastly outweighed by its platforming imperfections and hibernation mechanic, which makes little sense in its connection to accessing new areas. Oftentimes, the frustrations resulting from failure devolve into apathy, which is a wholly unfortunate outcome for a game that gives off a deceptively promising first impression. System requirements Memory:2 GB Graphics Card:NVIDIA GeForce 510 CPU:Intel Core 2 Duo E4600 Rain World File Size:Unknown OS:Windows 7 64-bit

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(CNN) - Peru reported its highest daily increase in cases of covid-19 with 5,288 in the last 24 hours, according to data published by the Ministry of Health on Tuesday night. The increase is the highest on record for the country since June 12. The total number of coronavirus cases in the country is 395,005, according to the same data, while the number of deaths reached 18,612 with 194 new deaths. On Tuesday morning, President Martin Vizcarra announced an additional subsidy of 760 soles (more than US $ 200) for 8.5 billion vulnerable families affected by the pandemic. MIRA: Peru will give orphan pension to those who lost their parents during the pandemic During a televised speech celebrating Peru's Independence Day in Parliament, the President also announced a lifetime financial grant for orphaned children for covid-19 of 200 soles per month (approximately US $ 57). Vizcarra also recognized the urgent need to revive the economy severely affected by the pandemic and announced a plan to create one million jobs. "With an investment of 6,350 million soles (more than US $ 1,800 million) to carry out infrastructure works and generate more than one million jobs throughout the country, which will begin in August," said Vizcarra. Peru began easing closure restrictions on July 1 and the country's state of emergency will end on July 31. "The confinement has allowed us to avoid a catastrophe of unimaginable consequences," said Vizcarra. Peru has the third highest number of covid-19 cases in Latin America, behind Brazil and Mexico, according to Johns Hopkins University.

Game Informations : Developer: Jason D'Aprile Platforms: PC Initial release date: October 14, 2016 at 4:22PM PDT If you’re obsessed with construction equipment and large mechanical things, Giant Machines 2017 probably has something to offer you. Giant Machines 2017 is a game that simulates what it’s like to drive, well, giant machines. These are machines like dump trucks, giant bucket-wheel mining excavators, cranes, and that massive moving platform that hauled the space shuttle to its launch site. I found the game bizarrely entertaining in short bursts. It’s buggy, not terribly attractive, and frequently requires the player to perform tedious, rather pointless tasks. Giant Machines brings up all kinds of questions about worker safety as well. Does the gigantic excavator really have a 300-foot ladder going straight up, with no safety guards whatsoever? And, if so, who takes that job? There's a certain novelty to the game as a whole. Similar to the appeal of movies about sharks in tornadoes, there's a goofy, yet earnest glee to playing with monster machinery. The 12-year-old in me couldn't help but get a modicum of guilty pleasure out of plowing through town in a dump truck the size of a house or pushing massive piles of snow for no real reason at all. The game's snarky narrator is also amusing as he gives you mission goals at the beginning of each level, frequently complaining about the incompetent guy who had the job before you. Despite the inherent glee of operating massive mechanical contraptions and snarky narrator aside, the game takes itself way too seriously and focuses too much on out-of-place mini-objectives. Anyone who looks at a game like this and thinks, “Hey! That’s a great idea!” is likely doing so because they want to bust things up with giant equipment. There’s some of that, but there’s way too much fixing cables, replacing batteries, and other tedious tasks that just get in the way of controlling the vehicles. When you finally do get behind the wheel of these mighty machines, the game opts for simulation-level pacing--without really delivering any kind of in-depth simulation. You can control almost every aspect of the various vehicles with a control pad, for instance, but don’t expect a riotous, over-the-top destructive rodeo. Instead, take a deep breath, contemplate life, and think about your day as you literally drive from Point A to Point B at about one or two miles per hour. The camera has an array of options, which are frequently all bad. Viewing from the operator’s booth in some of the machines barely lets you see what you’re doing, and the third-person viewpoints tend to be even worse. It’s not so noticeable when you’re driving a giant dump truck, but for unusually shaped vehicles (such as the excavator), everything is awkward. Every vehicle has a radio with several music stations. One sounds like weird '80s-era action-movie synthpop, while another seems to be Eastern European metal. It was all stuff I've certainly never heard before. The tracks aren't particularly good, but I kind of enjoyed the low-budget equivalent to the standard triple-A soundtrack. Adding "2017" to the name might suggest this is a modern, up-to-date experience, but the graphics engine looks more like 2006 (or older). The machines--especially from a distance--look decent, but the landscapes are sharp and blocky, and close-up textures and architecture are rather primitive. Giant Machines 2017 is only vaguely sim-like and suffers from a slew of flaws. Had the game just dove all-in on the idea of creating a destructive playground in which players could just run wild, it might've been a lot more appealing. As it is, the game has a distinct novelty value if you like low-budget, weird games. system requirements (minimum) Memory:4 GB Graphics Card:NVIDIA GeForce GTX 560 CPU:Intel Core i3-530 Giant Machines 2017 File Size:8 GB OS:Windows 7 (64-bit) or Newer system requirements (recommended) Memory:8 GB Graphics Card:NVIDIA GeForce GTX 970 Giant Machines 2017 CPU:Intel Core i5-650 File Size:8 GB OS:Windows 7 (64-bit) or Newer