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The Ministry of Health again released updated data on the coronavirus in the country. In total, there have been 366,550 confirmed, having carried out a total of 2,133,775 tests, of which 1,767,225 were negative in the test. For its part, more than 248,746 thousand people have been discharged after overcoming the disease, and 12,821 were admitted treating themselves. Of these, a total of 1,351 are in the ICU. The number of fatalities is 17,455 Coronavirus cases by department Lima - 181,421 Lima provinces - 14,538 Callao - 20,062 Piura - 19,949 Lambayeque- 16,023 La Libertad - 13,523 Arequipa - 11,012 Áncash - 10,609 Loreto - 10,410 Ica - 10,313 Ucayali - 9,308 Saint Martin - 7,186 Junin - 6,270 Huánuco - 5,220 Cajamarca - 4,570 Amazon - 4,312 Tumbes - 3,834 Cusco - 3,010 Ayacucho - 3,006 Mother of God - 2,721 Tacna - 2,091 Moquegua - 2,097 Pasco - 1,531 Puno - 1,450 Huancavelica - 1,316 Apurimac - 753

Game Informations : Developer: James O'Connor Platforms: PC Initial release date: September 12, 2018 at 9:00PM PDT the-books to try and keep busy--and block out the voice of Bill, which now haunts him wherever he goes. There are five cases to solve over the course of Lamplight City, but there's an interesting twist: It's possible to either accuse the wrong culprit or find that the case is unsolvable because of errors you've made. Lamplight City is not the first game to do this--Frogwares' last two Sherlock Holmes games, Crimes and Punishments and The Devil's Daughter, tried something similar--but this time it's all wrapped in a comfortingly familiar adventure game aesthetic, with pixel graphics, a simple point-and-click interface, and great-looking environments. The script is socially progressive and critical of the racism and homophobia of its 1840s setting, and Miles, for all his faults (he takes sleeping pills and drinks heavily to shut off Bill's voice in his head), is a likeable character. What the game lacks, unfortunately, is depth. It's full of great ideas, but isn't quite able to pull them off effectively. The ability to fail a case is an interesting mechanic that is never actually explained or really commented on in-game. I accused the wrong suspect in the first case, having exhausted my other options; I said the wrong thing in a conversation and a character that could have given me vital clues stopped talking to me, meaning that I only had one suspect to accuse. For the rest of the game I saved regularly so that I could reload and avoid a situation like this again, but the only concrete indication that I'd arrested the wrong person was their denial during the arrest cutscene. Later, in the third case, I wasn't able to enter a certain area because a family member of the formerly accused threatened me, but otherwise, there were no repercussions or even explicit confirmations that I'd made the wrong accusation. I only know for sure that I picked the wrong culprit because of a Steam achievement I did not get. But there was no room for misunderstanding in the other four cases. If you put in the work, you'll likely never find yourself in a position where there are multiple plausible suspects--it's very clear who the culprit is once you find all the evidence. The game will reward you, sometimes, for going the extra mile--if you locate the culprit in the second case before reporting their guilt, for instance, you'll earn a new lead in the fifth case--but doing so isn't particularly challenging, and a wrongful accusation is more likely to come from impatience than incompetence. These cases are fairly staid, and lack the spark of a good Agatha Christie mystery or the lunacy and twists of something like Phoenix Wright. While the final case--which sees you, inevitably, on the trail of Bill's killer--is a bit more exciting than the others, Lamplight City squanders a very good idea on mediocre cases where there's little room for error. With this gimmick deflated, you're left with an okay adventure game that's low on exciting puzzles. You can brute force your way through most cases, visiting each location and clicking on everything and everyone to see if new interaction options have opened, with few real puzzles to solve. There's no inventory management, so you don't get to use 'X' on 'Y'--everything is context sensitive, and Miles will use items or ask questions automatically if it makes sense for him to do so. This means that it's easy to miss objects that can only be examined at first--signified by a magnifying glass when you mouse over them--but which become collectible after an objective is reached. The game's sense of logic is extremely fair, and there are no ridiculous or irritating solutions, but it's easy to disengage when cases involve asking the same questions of each character to see what turns up. The characters are interesting, at least. The game's dialogue is mostly well-written, and having Bill's ever-present snarky voice in Miles' head is a smart way to provide flavor to endless item descriptions as you click on everything in a room. Miles' wife, Adelaide, is also a great character, and a subplot about their marriage issues is one of the more compelling strands. Sometimes the game asks you to make changes that have a proper payoff, and how you handle Miles' marriage is a prime example. There are many little aspects of the world of Lamplight City that exist mostly on the periphery of your experience. You often encounter characters engaged in steampunk experiments, looking to harness a new form of energy called "aethericity," and there's an undercurrent of political turmoil running throughout much of the dialogue in the fourth and fifth cases. The divide between the working class and the aristocracy comes up often too, but a lot of the observations the game makes only skim the surface. These details flesh out the game's sense of place and give some context for the wider world Miles lives in. It's a shame that few of these end up being important to the actual cases, though--there are running plot threads that ultimately go nowhere and cases that seem to involve some of the game's kookier elements ultimately end up having mundane explanations behind them. Lamplight City has a hell of a concept behind it, but unfortunately, the cases don't deliver on its promise. When you strip away the idea that the game will let you fail, and that you need to pay particularly close attention to what's happening, you're left with an adequate adventure game that is low on great puzzles. It's certainly not without charm, but the game's inability to make a strong delivery on its fantastic central gimmick casts an unfortunate shadow over its unique setting and likeable cast. System Requirements Processor: Pentium or higher 1.2 GHz. Memory: 1 GB RAM. Graphics: 640x400, 32-bit colour. DirectX: Version 5.2

Microsoft has announced Dataflex, a "low code data platform for Teams," showing off the relational database management technology to its partners at its virtual Inspire event. The new Dataflex is described as a “built-in, low-code data platform for teams”, and is set for public preview in August. There will be no extra cost for the Dataflex feature itself but customers will pay for apps they deploy at the normal rate. The cost of deploying Power Apps, for which Dataflex is designed, is currently $10 (£7.50) per user/app/month or $40 (£30.20) per user/month for unlimited apps. Dataflex is, in part, yet another Microsoft rebranding exercise. It is built on the Common Data Service, a unifying web API for accessing data in Dynamics 365, and extended to integrate with SharePoint and OneDrive. The Common Data Service, which has been around for several years, is now renamed "Dataflex Pro". It is true that Common Data Service was a misnomer, since it was closely hooked to Dynamics 365 and did not cover other important data sources such as SQL Server, for which you need a separate data connector. That said, users can create their own custom data tables using Dataflex, without needing to configure external storage or database services. This is what the company calls “low code data storage.” Power Apps is a feature of Microsoft’s “Power Platform,” which also includes Power BI (data visualisation), Power Automate (workflow automation), Power Virtual Agents (chatbots). Power Apps is the custom application piece, designed to be accessible enough that “citizen developers” can get in and make their own custom solutions. Teams users will now have easier access to making Power Apps, thanks to an integrated app studio that will appear within the Teams UI. Microsoft said this “is all made possible by Dataflex.” Users will be able to create and edit custom apps and workflows, and publish them to their Teams colleagues. Microsoft is also promising that creating chatbots, sorry “virtual agents,” will also be easy for users “without coding or data science backgrounds.” Microsoft said that “by making the bot creation process more approachable and intuitive for users without a software development background, it empowers the people that know the business to create bots and can quickly adapt the conversation to changing policies, information, and business needs.” The company is running “App in a Day” virtual events in cooperation with its partners, for those interested in getting started. There is also a new Power BI app for Teams which promises “a more streamlined experience for accessing Power BI reports.” Microsoft is also opening up the Teams Meetings to developers, with the ability for third-party applications to add custom content within tabs and their own buttons on the meeting control bar. There are a few snags with the Power Platform. One is that, like Teams itself, it is composed of various diverse pieces some of which are complex and full of legacy – not least Dynamics 365, which is notoriously fiddly to work with and in places, by no means intuitive. Another is the cost, with a Power App likely to be an expensive solution compared to other ways of deploying applications – though if users can really deploy something useful without paying professional developers, that mitigates the extra expense. The other question is whether Microsoft is over-promising when it comes to what citizen developers can achieve. “We look at the Power Platform as a highway to turn all 23,000 employees into engineers,” trilled Chris Wagner, analytics architect at Rockwell Automation. In an industry laden with hype, this must be among the least realistic claims we have witnessed. ®

Apple Inc. is preparing to announce a shift to its own main processors in Mac computers, replacing chips from Intel Corp., as early as this month at its annual developer conference, according to people familiar with the plans. The company is holding WWDC the week of June 22. Unveiling the initiative, codenamed Kalamata, at the event would give outside developers time to adjust before new Macs roll out in 2021, the people said. Since the hardware transition is still months away, the timing of the announcement could change, they added, while asking not to be identified discussing private plans. The new processors will be based on the same technology used in Apple-designed iPhone and iPad chips. However, future Macs will still run the macOS operating system rather than the iOS software on mobile devices from the company. Bloomberg News reported on Apple's effort to move away from Intel earlier this year, and in 2018. Apple is using technology licensed from Arm Ltd., part of Japanese tech conglomerate SoftBank Group Corp. This architecture is different from the underlying technology in Intel chips, so developers will need time to optimize their software for the new components. Cupertino, Calif.-based Apple and Santa Clara-based Intel declined to comment. This will be the first time in the 36-year history of the Mac that Apple-designed processors will power these machines. It has changed chips only two other times. In the early 1990s, Apple switched from Motorola processors to PowerPC. At WWDC in 2005, Steve Jobs announced a move from PowerPC to Intel, and Apple rolled out those first Intel-based Macs in January 2016. Like it did then, the company plans to eventually transition the entire Mac lineup to its Arm-based processors, including the priciest desktop computers, the people said. Apple has about 10% of the PC market, so the change may not cut into Intel sales much. However, Macs are considered premium products. So if the company moves away from Intel for performance reasons it may prompt other PC makers to look at different options, too. Microsoft Corp., Samsung Electronics Co. and Lenovo Group Ltd. have already debuted laptops that run on Arm-based chips. Apple's chip-development group, led by Johny Srouji, decided to make the switch after Intel's annual chip performance gains slowed. Apple engineers worried that sticking to Intel's road map would delay or derail some future Macs, according to people familiar with the effort Inside Apple, tests of new Macs with the Arm-based chips have shown sizable improvements over Intel-powered versions, specifically in graphics performance and apps using artificial intelligence, the people said. Apple's processors are also more power-efficient than Intel's, which may mean thinner and lighter Mac laptops in the future. Apple's move would be a highlight of this year's WWDC, which will be held online due to the COVID-19 pandemic. Because of the fluid nature of the global health crisis and its impact on Apple's product development, the timing of the chip announcement could change. At the conference, Apple is also readying updates to its other operating systems—iOS, iPadOS, tvOS and watchOS—with changes to augmented-reality capabilities, deeper integration with outside apps and services, and improved Apple Watch fitness features. A big priority is improving the performance of its mobile software after last year's release, iOS 13, suffered from several issues. The company is working on at least three of its own Mac processors, known as systems-on-a-chip, with the first based on the A14 processor in the next iPhone. In addition to the main central processing unit, there will be a graphics processing unit and a Neural Engine for handling machine learning, a po[CENSORED]r and powerful type of AI, the people said. In the past, Apple has made chips for specific Mac functions, such as security. Intel has faced more competition as its lead in production technology—a key way to improve semiconductor performance—has slipped. Taiwan Semiconductor Manufacturing Co. makes processors for many of Intel's rivals using a more advanced process. TSMC will build the new Mac processors using a 5-nanometer production technique—the same approach as for the next iPhones and iPad Pros. Intel rivals Qualcomm Inc. and Advanced Micro Devices Inc. also use TSMC to make their chips. The Apple chip project has been in the works for several years and is considered one of the company's most secretive efforts. In 2018, Apple successfully developed a Mac chip based on the iPad Pro's processor for internal testing, giving the company confidence it could announce such a shift this year.

The company Enel reported that it will carry out power cuts in areas of the districts of San Juan de Lurigancho, Callao, San Martín de Porres, Carabayllo, Comas, Independencia, Puerto Supe, La Perla, Bellavista, Puente Piedra, Rímac, Barranca and El Augustinian. Through a statement, the company detailed that, from tomorrow, July 22, until Sunday, July 26, its collaborators will carry out maintenance work on the medium and low voltage electricity networks in the aforementioned districts. Next, the detail of the zones, districts and schedules: Wednesday 22 San Juan de Lurigancho 8:00 a.m. - 6:00 pm. Agrup Fam Nuevo Peru Amanecer Mz AC, Asoc viv Casablanca Mz O1-N21-N1A-N19-N17-N18-N1-N20-N22, Ahm 10 de Octubre Mz O3-N17-N18-N19-N20-N21-N22-N1 -N1A-O1, Ahm Mariscal Andres Caceres Mz 20-N21-N19, Ahm Proyt int Nuevo San Juan Mz D-N21, Ahm Las lomas de casablanca Mz ABC-N1-O1-O3-N19-N22, Agrup Fam 28 de Marzo Juan Pablo II 3 etp, Ahm El Salvador Mz ACD, Agrup Fam 14 de Septiembre Amp Mz A-Aprima-B-Cprima-D-Dprima-EH-Gprima-Kprima-LprimaMprima-Iprima-Jprima-Pprima-Qprima, Agruup Fam Cerro Verde Mz ABCE, Agrup Fam Virgen del Carmen El pedregal Mz DF, Agrup Fam Nva Juventud Lomas de casablanca Mz AB, Agrup Fam El Sudario Mz ABCDEFGHIKJ, Agrup Fam 15 de Marzo Mz A-A1-B-B2-C-C1-C3 -C4-DEFIKLMNO, Ca Gamma Mz N23-N17, Agrup Fam Los Hijos del Sol Mz BCD-EF-GH, Agrup Fam Alto Cenepa Mz AB Callao 9:00 a.m. - 1:00 pm. Jr vigil cdra 1-2, Jr colon cdra 9-10, Av Buenos Aires cdra 12-13, Saenz peña cdra 9, Av Almirantre Miguel Grau cdra 12 Callao 2:00 p.m. - 5:00 pm. Av rep de panama cdra 1-2- 3, Jr Ayacucho cdra 12, Saenz peña cdra 9-10-11, La paz cdra 2-3, ca Nueva cdra 1, Lazareto cdra 11-12, Manuel Raygada cdra 11-12, Miroquesada cdra 13, Montezuma cdra 11 San Martin de Porres 9:00 a.m. - 5:00 pm. Jr Moquegua cdra 38-39, Jr Tacna 38-39, Ca Cuzco 38, Huaraz cdra 7-8, Huancayo cdra, Trujillo cdra 7 Carabayllo 9:30 a.m. - 1:30 p.m. The gypsy las lomas de carabayllo Lt 1 F Comas 10:00 a.m. - 1:00 pm. Ahm virgen de Guadalupe Mz A-D-B-Eprima-C-Cprima-, Av San Martin cdra 11-14, Ahm la libertad cdra 14 Independence 2:00 p.m. - 5:00 p.m. Ahm Jesus de Nazareth Mz CEO, Ahm Jesus de Nazareth sct luis pardo Mz YRZWUXVOPZ, Ahm Jesus de Nazareth sct Cerro el golgota Mz ACB, Amp Manco Segundo Tahuantinsuyo Mz M8prima, Ahm San lorenzo Mz A-B2-F-E1-D2-GC , Ahm Jesus de Nazareth II etp ampl Mz F-Bprima-Fprima-Eprima-Dprima-Cprima, Aprima, Ahm The prairies of San Lorenzo Mz E, Ahm Lomas de Independencia Mz ABC Puerto Supe 08:30 a.m. - 16:30 p.m. Second Passage, Third Passage and Fourth Passage in the Supe Puerto district. Thursday 23 La Perla 9:00 a.m. - 6:00 pm. Jr Henry Arredondo Mz A, H slim cdra 1 - 2 Mz F1, Marcos Nicolini cdra 1, alheli cdra 6 Bellavista 9:30 a.m. - 5:00 pm. Jr francisco Pizarro cdra 1-2, Av almirante grau cdra 13-14-17, Jr espinar cdra 1-2, Colina cdra 1-2-3, California cdra -3-4, Jr los Heros cdra 1-2-4, Pacifico cdra 1, Buenos Aires cdra 12-13-15-16-17-18, Bolognesi cdra 2-3, Av Pierola cdra 1-2-3, Fajardo cdra 1-2-4, Fanning cdra 1, Arica cdra 2- 3 Puente Piedra 8:00 a.m. - 5:00 p.m. Apurimac cdra 1-2-3-6, Mz 54-55-71A-78, Ca Huancavelica cdra 1-2-3-4-5-6, Mz 89-90-96A, Moquegua cdra 1-2-3-4 -5, Mz 66- 71-78-79-109, Huancayo cdra 1-2-3-5-6-10-11, Mz 87-97B-98- H, Tacna cdra 1-2-3-4-5 -6, Mz 81-85, Arequipa cdra 1-2, Mz 68- 69-73, Abancay cdra 2-3-4-5, Mz 71-78, Ica cdra 1-2-3-4, Tingo Maria, MZ 81A-81C, Lima cdra 2-3-4, Balta cdra 1-2-3, Psj Chincha Mz 62, Recuay Mz 63-62, Asoc de Viv The stone bridge star Mz AB, Asoc de Prop los parrales de Puente Piedra Mz HIJK, Amazonas cdra 1, M109-H-56D, Loreto cdra 1-2-5, Mz 84, Madre de Dios Mz 80A, Cuzco cdra 1, Mz T1-J1, Tumbes cdra 1-3, Mz 54-91- 94, Trujillo cdra 1-2-3, Mz 82-83-86, Pacasmayo cdra 1, Mz 83ª, Pucallpa cdra 1, Mz 81A-82-82ª, Carmen alto cdra 1, Mz 64F-64E-64D-64G-64I -64H, Lobitos Mz 56-56G-108, Ahm Santa Rosa Mz 56, Mz 81D-89-98, Ca Puno Mz 89, Ahm Santa Rosa de Puente Piedra Mz 56E-56F-, psj Mollebamba, Jr Piura Cdra 2, Mz 89-93-94A-95, Psj Caballo Cocha Mz 79C-, Jr Iquitos Mz 81B, Psj Mirador M z 103-106-113, Psj Huancabamba Mz 106, Psj Luis Beerger Mz TUVW, Ca Buen Pastor MzE, Ahm Virgen de Chapi Mz AB-Cprima-DEHGI, Ahm Santa Rosa CMT 26 cdra 2, Mz ABDEH, Ahm Santa ROsa CMT 27 cdra 12, Mz 64D-64G-64H-64C, Ca palpachi Mz 101, Psj Vista Alegre Mz 56H-89 San Juan de Lurigancho 10:00 a.m. - 4:00 p.m.

Game Informations : Developer: Michael Higham Platforms: PC Initial release date: December 5, 2018 at 7:42PM PST What's another oppressive dictatorship to series protagonist Rico Rodriguez? Not much. He does encounter a new kind of enemy in Just Cause 4, however: extreme weather. It's the common thread that runs through both the story and new mechanics and tops off the explosive spectacle the series is known for. And alongside new gadgets to send objects (and people) flying across the world, Just Cause has become a physics playground. Unfortunately, there just aren't enough opportunities to put these features to good use; underwhelming mission structure and a world slim on enticing activities makes Just Cause 4 a short-lived blast with untapped potential. The best and most prevalent piece of Just Cause games is at the forefront once again. An exceptional traversal system lets you propel Rico across the beautiful landscapes of Solis and effortlessly soar through the skies. With the combo of a grappling hook, parachute, and wingsuit, Rico can basically go wherever, whenever (and often more efficiently) without a vehicle. Like past games, you build momentum and essentially catapult yourself using the combination of these tools and hardly ever have to touch the ground. It's tough to overstate how satisfying it is to escape enemy hordes and hook onto the underside of a helicopter to hijack it and tear them all down, or slingshot yourself out of harm's way toward the next target you'll blow to bits. Rico isn't only built to move fast, however: if you aren't causing explosions on a regular basis, you might be doing something wrong. Fuel tanks, red barrels, and vehicles are unusually explosive, and set the stage for over-the-top action. Since the grappling hook can also be used to tether objects together, you have lots of opportunities to get creative outside of exhausting your arsenal of firearms--some of which have their own wacky practical applications, like the wind cannon or lightning gun. Some weapons just wreak havoc such as the railgun or burst-fire rocket launcher, and even modest small arms like the SMG have impactful alternate fire modes. This may be the expectation for Just Cause, but it still pulls you in for a wild ride. It's tough to overstate how satisfying it is to escape enemy hordes and hook onto the underside of a helicopter to hijack it and tear them all down, or slingshot yourself out of harm's way toward the next target you'll blow to bits. Its identity as a destructive playground is further emphasized by grappling hook mods, three of which you customize: air lifter, retractor, and boosters. All three devices coincide with the new physics engine. Air lifters (essentially mini hot air balloons) let you launch things into the sky, and they can be further customized in terms of velocity, behavior, and altitude. Retractors pull targets together violently, and boosters work like jet engines that'll send objects into a speeding frenzy, whether it be an attack helicopter or a poor enemy soldier. Multiple permutations of these contraptions are made possible, since their effects can be stacked into a single tether and three loadout settings let you switch between loadouts on the fly. These gadgets are unlocked through side activities, and you're given plenty of avenues to make them work as you desire, which leads to the most disappointing part. Just Cause 4 gives you so many shiny new toys to play with but seldom a reason to use them. Mission structure is uninspired, as you are continually asked to escort NPCs, defend a specific object for a set duration, activate (or destroy) inconspicuous generators, or hit a number of console panels to activate some sort of process. The worst offender has to be the timed missions that ask you to sink bomb-rigged vehicles into the ocean; they're tedious and prone to mishaps at no fault of your own. These are tied to Region Strikes, which are required to unlock territories on the map and progress to main story missions. While blasting through waves of enemies and their military-grade vehicles offers some great moments, you're often asking yourself: okay, what else? Shielded heavies, snipers perched from a mile away, and flocks of attack helicopters can become enjoyably overwhelming, since you have to rapidly make use of your diverse toolset. But several missions are designed in such a way that's oddly restricting, limiting the game's strongest assets. Enemies simply swarm and act as basic obstacles rather than clever challenges, and that leaves you with objectives that rarely bring out the best in the mechanics and systems of Just Cause 4. There are a few stellar moments in the main story missions that make proper use of the extreme weather system that is the core of Just Cause 4's premise. Specifically, the conclusion to a stormchaser-themed questline funnels you through a number of battles while a tornado rips through your surroundings. Your ability to parachute and glide are drastically affected by the wind velocity and turbulence, which throws some welcome unpredictability into the mix. One particular sequence is also indicative of what the grappling hook mods are capable of; destroying massive wind cannons that impede progress with boosters wasn't only the most efficient method, but watching these heaps of steel frantically spin out of control was a sight to behold. The last stand in this mission, a sequence of rooftop firefights amid the harsh weather, brings the many great pieces of the game together. The same can't be said about the other extreme weather conditions, however. Sandstorms challenge you with violent winds and obscured vision, and thunderstorms bring torrential rain and lightning strikes that make for a visual treat. But they're not game-changing in the way tornadoes are since they have a minimal effect on gameplay. Even then, the questlines tied to these weather conditions and their respective biomes are over before you get to fully experience their unique qualities. All the while, a vaguely coherent story about family and a rebellion against an evil regime serves as the platform for Rico's wild ride. Stories in Just Cause haven't been more than excuses for environmental destruction and a way to make you feel comically powerful, and the same holds true here, though you may find the ties to previous entries somewhat endearing. The harsh forecasts are justified by villain Oscar Espinoza's high-tech devices that control the weather and oppress the people of the fictional South American country Solis. Rico remains the plausible one-man army who has the capabilities of a superhero with the air of a grounded, unassuming protagonist. If there's anything that Just Cause does well story-wise, it's convincing you to accept the absurdity of it all. Throughout the game, you'll be building a revolution across Solis, bolstering what's called the Army of Chaos. It's a fundamental piece to progression and the key to taking down Espinoza and toppling The Black Hand private military again. The Army of Chaos serves as a tool to controlling territories across the map since you need to accumulate squad reinforcements to overtake regions, which also gates your ability to take on story missions. Cause destruction and raise your chaos level, and get squads to progress. It boils down to a numbers game, and once you understand the structure of this system, you can easily snowball squad numbers and control all of Solis without having to grind your chaos level. Side activities from three minor characters litter the map as well; Sargento has you teaming with NPCs to destroy enemy infrastructure, Garland makes you do stunts, and Javi provides a bit more context to Solis by asking to do a few easy puzzles. It's more things to do, and they unlock the aforementioned grappling hook mods, but they're simple in nature and aren't enough to compensate for the shortcomings of other missions. Just Cause 4 has incredible moments where beauty and destruction cross with Rico's ability to zip around the world at a moment's notice. It's gratifying and easy to grasp, especially when you're able to string a series of wingsuit fly-bys, vehicles hijackings, and fiery explosions all in the name of revolution, but those moments are either short-lived or tied to rudimentary missions. You're given an awesome toolset that paves the way for creativity in a world with too few problems to solve. At a time when open-world games sometimes overstay their welcome, Just Cause 4 is at the other end of the spectrum, where you wish there was more to experience because it has so much going for it. System Requeriment. OS: Windows 7 SP1 with Platform Update for Windows 7 (64-bit versions only) CPU: Intel Core i5-2400 @ 3.1 GHz | AMD FX-6300 @ 3.5 GHz or better. RAM: 8 GB. Graphics: Nvidia GeForce GTX 760 (2GB VRAM or better) | AMD R9 270 (2GB VRAM or better) DirectX: DX 11.1. HDD/SSD: 59 GB.

TODAY IS A SPECIAL DAY TO A FRIEND @.Straju, one of my community friends and support in our community, I hope you have a good time on your birthday and TAKE CARE! AND DO NOT GO OUT FOR THIS DISEASE. I wish you the best my friend and you can count on me

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Agriculture Minister Jorge Montenegro said Thursday that lowering his guard before COVID-19 is a bad sign for the po[CENSORED]tion, so he recommended strengthening prevention measures in the face of the pandemic. In an interview with the RPP News Expansion program, the head of the Ministry of Agriculture and Irrigation (Minagri) related his experience as a COVID-19 patient after learning that the Minister of Production, Rocío Barrios, tested positive for the new coronavirus. "It is a disease that is still fatal, I fell on May 5 or 6 if I remember correctly, I was in the clinic for 10 to 12 days and then I went through a quarantine process. The fact of letting my guard down it is a bad sign, on the contrary we have to strengthen it, "he said. In this sense, Jorge Montenegro insisted on a call to the po[CENSORED]tion to redouble the effort to maintain the obligatory social distancing, the washing of hands and the use of the mask. "This is a quite delicate disease, intense pneumonia as doctors indicate, high temperatures in terms of fever, I have had close to 40, total discomfort, congested joints, bad stomach and this disease is consuming you because you lose your taste, hunger decreases, you start to dehydrate and if it is not treated in time it can cause loss of human life, "he said. Creation of FAE-AGRO On the other hand, Minister Jorge Montenegro highlighted the creation of the National Government Guarantee Program for Business Agrarian Financing (FAE-AGRO), which seeks to approve credits for working capital of small farmers. "It is aimed at family farming, all those farmers and producers that have less than five hectares and it is to ensure the 2020-2021 campaign that begins in August," he said. Jorge Montenegro explained that FAE-AGRO is similar to Reativa Peru as an auction mechanism. He assured that in the next two days there will be regulations for this program, made official today with Emergency Decree No. 082-2020. "Here we are talking about up to 30,000 soles, all those who can access a loan of 15,000 soles have a 98% state guarantee and those who access the 30,000 soles credit can have a 95% guarantee," he clarified. Newsletter Everything about the coronavirus COVID-19 has put everyone on alert. Subscribe to our newsletter All about the coronavirus, where you will find the most relevant daily data from the country and the world on the progress of the virus and the fight against its spread.

Game Informations : Developer: Miguel Concepcion Platforms: PS4, PC, VITA Initial release date: February 22, 2017 at 10:13AM PST It's difficult to think of an anime and manga property more suited to join Omega Force's Warriors meta-series than Berserk. Franchise protagonist Guts lives and breathes hack-and-slashing, enough that he, at first glance, can be mistaken for a one-dimensional mercenary obsessed with killing. Unfortunately, Berserk and the Band of the Hawk's simplistic gameplay does little to demystify this shallow perception. It's an inadequate introduction to the Warriors games although the abundance of anime and CG cinematics makes it a fitting gateway to the Berserk series even if it doesn't do its main character any favors. For a manga series that has lasted over 27 years, spanning myriad story arcs, it was wise of Omega Force to focus on Berserk's most well known events, namely the narratives that have been adapted into various anime productions. The result is a comprehensive Story Mode that chronicles Guts' evolution from a raging teenage mercenary with no life goals to a homicidal adult seeking retribution. Band of the Hawk isn't a sufficient substitute for the anime since it glosses over many supporting characters' storylines. Furthermore, the best action scenes, from The Golden Age film trilogy in particular, have been omitted as you get to reenact those same battles instead. Unfortunately, these playable scenes fail to elevate its presentation to match the show. Berserk is representative of Warriors games at their most simple and straightforward which, when compared to their recent achievements with Hyrule Warriors and Dragon Quest Heroes, is all the more disappointing. Assignments are limited to three types: destroy, rescue, and kill. The game of region dominance--a hallmark of Dynasty Warriors campaigns--is barely utilized and would have added depth to Berserk's 46 story chapters. Even with Guts' propensity for killing, there's no substantial or long term incentive to slaughter everyone that crosses his sword. At its best moments, amassing a body count of over 1,000 while completing goals in a single mission feels cathartic but there's never the compulsion to wipe an entire map clean of enemies. To do so would add monotony to an already tedious campaign, when the drive to tick off objectives and reach the next cutscene becomes more appealing than staying on the battlefield. Despite the multiple objectives, the occasional mid-mission plot twists, and all the running around, the majority of chapters can take less than 10 minutes to complete. What results are missions that are shorter than the cinematics that frame each sortie. The intermissions in the first third of the story mode wisely reprises scenes from Berserk's Golden Age film trilogy while players are spared from footage from the divisive new TV show in favor of new CG scenes. It's plot-heavy by Warriors standards but works in the context of Guts' epic road to revenge. Guts' brutal and offensive-minded repertoire is expressed through the simple combos that make up much of his move set. It all comes down to how many quick and strong attacks you string together. After every hundred or so kills, Guts can unleash a finishing move that wipes out every nearby foe. Such carnage is fitting for him though it's easy to see how a sense of routine can set in quickly and often. Without a greater variety of objectives, Omega Force's brand of unrefined hack and slashing becomes all the more magnified as you labor through this lengthy campaign. The novel appeal of playing someone other than Guts loses its allure quickly since Free Mode only features previously beaten story missions. This reliance on the Warriors formula extends to the playable areas outside the story. Free Mode, a staple of the meta-series, serves as an outlet to try out Berserk's supporting cast. They all control with the same quick attack/strong attack simplicity of Guts, each with their own brutal flourishes, where two dozen troops can be vanquished with a single sword stroke. The androgynous Griffin kills with the lethal grace of a fencer while the skilled Casca moves with the agility of a ninja. The novel appeal of playing someone other than Guts loses its allure quickly since Free Mode only features previously beaten story missions. Berserk's repetitiveness is all the more pronounced in Endless Eclipse, the game's endurance mode. Despite its seemingly intimidating 100-round design, this mode lacks character as it's neither a tower dungeon nor is it a hectic wave-based survival mode. Instead, it mimics the Story Mode's prioritization on completing objectives with no penalty for running past all the lesser enemies in each round. Endless Eclipse also underscores Berserk's lack of replay incentives, despite the character-building rewards it bestows when completing missions. In Endless Eclipse, boredom is as much an obstacle as anything this mode throws at you. Given how well Guts' bloodlust and battle experience are well-suited to the crowd fighting and mass slaughter of Warriors games, it's disappointing that this tie-in lacks the engagement and nuance of Omega Force's more imaginative efforts with other franchises. Its saving feature is the expansiveness of the campaign narratives, which serve as a hearty sampling of the Berserk franchise's multiple story arcs. If not for these insightful cutscenes, the developer's penchant for adequate but unengaging hack and slash combat would perpetuate the image of Guts as a one-note protagonist. And even if you're a Warriors fan who knows not to expect a Dark Souls level of gratifying melee combat, Band of the Hawk still deprives you of the juicy sights and sounds that one associates with Guts' savagery; the splashes of red that result from every kill hardly counts as "gore". System requriment OS: Windows® 7, Windows® 8.1, Windows® 10 (64bit required) Processor: Core i7 2600 over. Memory: 8 GB RAM. Graphics: NVIDIA GeForce GTX980 (3840x2160) / GTX760 (1920x1080)

The Ministry of Transport and Communications (MTC), through Directorial Resolution No. 015-2020-MTC / 18, extended the validity of driver's licenses and health certificates. The regulations were published today in the official newspaper El Peruano and are carried out within the framework of the actions taken by the Executive to stop the advance of the new coronavirus in the country. According to the device, article 1 and numeral 2.3 of article 2 of the R.D. N ° 08-2020-MTC / 18 regarding the terms of validity of all the qualifying titles in the field of land transport services, water transport services, circulation and land transit, and circulation of vehicle units through the granting of special authorizations . The validity of the motor vehicle driver's licenses, which expired from January 1, 2020 to August 15, 2020, is subject to the provisions: Class A category IIa: September 30, 2020. Class A, category IIb (expired from January 1 to April 30, 2020): October 31, 2020. Class A category IIb (that are expired between May 1 to August 15, 2020): November 30, 2020. Class A category IIIa: November 30, 2020. Class A category IIb: December 31, 2020. Class A category IIIc: December 31, 2020. Class A category I: January 31, 2021. Meanwhile, the R.D. indicates that the validity of health certificates for driver licenses, whose expiration dates have occurred from January 1, 2020 until 15 calendar days after the end of the state of national emergency for the serious circumstances that affect the life of the Nation as a result of the COVID-19 outbreak.

Game Informations : Developer: Calum Marsh Platforms: PS4 Initial release date: March 8, 2019 at 2:32PM PST ToeJam & Earl was in many respects typical of the kind of game that defined the Genesis--charmingly eccentric, ostentatiously hip, staunchly uncommercial. A broad comic pastiche of tropes from early hip-hop and mid-'80s New York street style, this low-key co-op dungeon-crawler about alien rappers had what you'd call a vibe, and as one might have put it then, it was a trip just to groove with it. ToeJam & Earl: Back in the Groove is faithful to this spirit. A ground-up remake from series creator Greg Johnson, it adheres so closely to the source material that it's hard to critique without it reading like a referendum on the original. Everything about the experience has been designed to make you nostalgic for the early 1990s, and sinking into its reverie of the past can be appealing. But too often it reminds you how far we've come since then, and makes you remember why certain things are better left behind. The setup is identical. As the game begins, our extraterrestrial heroes have crash-landed on Earth, their ship totally obliterated. At the same time, a black hole has warped the world out of recognition, the upshot of which is the planet has been laid out across small tracts of land stacked one on top of the other, the lot of them connected by elevators--sort of like a Salvador Dali landscape crossed with Super Mario Galaxy. The object of the game is to collect the 10 pieces of scattered debris that together comprise your ship so you can return home to planet Funkotron. The pieces are hidden, their locations randomized, and the distorted quasi-earth that houses them teeming with nefarious earthlings out to thwart you for reasons unexplained. It's glib and vaguely surreal. It's absurd, but you get the sense you're not meant to question it. Your pursuit of the 10 missing ship pieces unfolds not unlike the exploration of a dungeon in old fantasy role-playing games; Back in the Groove is a more or less standard example of the roguelite genre. Earth's ascending series of floating-island stages are generated procedurally--with the option to play a "fixed" mode that trains you to a static set of levels--while enemies and loot, both abundant, are randomized on each playthrough. Enemy placement and distance between objectives have the luck-of-the-draw quality that makes roguelites so engrossing (if frustrating), and death is permanent, demanding from-the-start replays. What distinguishes ToeJam & Earl from other roguelites are its style and its attitude. One of the first things you notice is how mellow it feels. It's an extremely gentle, easy-going game. That's not to say it can't be difficult--on random mode, I died frequently and agonizingly, and won by the skin of my teeth. But there's a kind of unflappable composure and lackadaisical pace throughout that makes the experience feel relaxed. This is a game that not only permits but rewards lounging in a hot tub for as long as you'd like, and in which the heroes don't run but saunter. Where most games tend toward the urgent and dramatic, ToeJam & Earl prefers things unhurried. The word for it is chill. It's very likeable. The overall look of ToeJam & Earl is unmistakable. Its vibrant aesthetic drew from a variety of urban artists of the era, including the pop art of Keith Haring and Jean-Michel Basquiat and the subway graffiti of Futura and Zephyr, and in its own cartoonish way the game is as authentic a snapshot of the period's hip-hop and street culture as films like Breakin or Wild Style. Of course, what was contemporary in 1991 is decidedly retro in 2019, and its bright acrylic colors and bold animations are all the more striking for their vintage air. This is particularly true of the patterned backgrounds used as interstitial lulls between levels. In the original these were loading screens; here they're technically unnecessary, but they add something unquantifiable, like grace notes, and have been wisely left in. It's in such touches that Back in the Groove best captures the mood of its predecessors. Old-school hip-hop looms over ToeJam & Earl, but it's actually funk, not rap, that provides the music. As the title promises, grooves abound. The newly recorded soundtrack, a raft of jams by virtuoso bassist Cody Wright, features such aptly named tracks as "Slow Groovin," "The Bass Master," and "Funk Funk Funk E," which sound as advertised. It's hardly the most diverse score, but I never found it repetitive. Those endless basslines feel inseparable from the tempo of the action and atmosphere of the setting, and as such contribute to what is on the whole a really coherent style. Tone, rhythm, visual design--it's all of a piece. And the few elements introduced expressly for the remake, like new enemies, items, and playable characters, don't depart from the template of the original in the slightest. There are things one expects even the most faithful throwback to modernize. But as if to protect the essence of ToeJam & Earl, next to nothing about the classic gameplay has been modified, supplemented, or otherwise upgraded. The game still controls like it's mapped to three buttons, and rather than streamlined it's merely simplistic. There's not much more to do than walk around and alternately locate ship parts and elevators as you evade earthlings, most of whom are so predictable and easily avoided that death is usually caused not by any one tricky enemy but by a bunch of them crowding you in a flourish of unlucky randomization. A pair of basic minigames (a crude rhythm game and an endless runner) feel like afterthoughts, and from beginning to end the campaign can be completed by a skilled player in under two hours. Items, like much else in ToeJam & Earl, are distributed at random, gift-wrapped and unidentified until opened or divined by magic. These presents are in ample supply, and there's a staggering number of types to discover, most of them outlandish. Some, like earthling-pelting tomatoes or enemy-attracting decoys, have obvious (if limited) benefits. Others, like an alarm that sits above your head and alerts enemies to your position or a kind of bomb that causes you to immediately self-destruct, are gag gifts, better left unopened. Most seem pretty arbitrary, as though included because they're amusing. None struck me as particularly useful--even the slingshot, which should be straightforward, is ineffective. They have no real effect on strategy, except as blunt instruments, and more often than not their randomness is a burden. A simple progression system--another holdover from the Genesis version--allows you to level up and earn titles ranging from "Weiner" to "Funklord." Now this system has been expanded upon with a basic stats tree governing your speed, luck, and so on, and in Back in the Groove graduation from one title to the next bears with it additional points in each category. The entire system is underdeveloped, and while boosts to these attributes no doubt do have some bearing on your speed or the frequency with which you happen upon valuable presents, the effect of levelling up on anything other than your health meter seems negligible. It mattered so little to my success moment-to-moment that I often forgot to redeem my level-ups when I'd earned them. Online multiplayer is one of the rare other modern amenities, and it is an awkward fit. ToeJam & Earl was a quintessential couch co-op game circa 1991; two players felt fundamental to a full experience. But while local multiplayer still delights as expected, playing with up to three friends or strangers online is not remotely the same. There just isn't enough ground to cover in a given level to warrant four different people searching for the same elevator, and not enough content other than that to keep everyone busy; walking around together is redundant, and splitting up a waste of time, as whoever happens on the goal first has to stand around waiting for the rest of the gang to catch up. One tardy straggler can make a level feel interminable. As if to protect the essence of ToeJam & Earl, next to nothing about the classic gameplay has been modified, supplemented, or otherwise upgraded. In its first incarnation, ToeJam & Earl could seriously strain the Sega hardware. An environment bustling with enemies could slow the frame rate nearly to a halt, and the game's madcap sense of creative abandon sometimes seemed too much for the console to handle. Back in the Groove suffers from similar technical defects, even on PlayStation 4, to the point where I honestly wondered whether the persistent freezing and stuttering might not be an ingenious reference to its underperforming forebear. There are intermittent problems with the randomization process, too, including, on multiple occasions, the failure of game-essential objects to appear, preventing advancement to the next level. Several times I arrived on a new level to find that the elevator to the following level was nowhere to be found, requiring me to exit and load a previous save file. ToeJam & Earl: Back in the Groove belongs completely and unapologetically to the early 1990s. This remake's most attractive features--its dazzling animation, its infectious bass--are ambrosia for the nostalgic and derive much of their charm from their fidelity to the Genesis original. But a lot has changed over the last 30 years, and the game too often fails to gracefully integrate new features to a modern standard. For every wistful reminder of bygone days and the pleasures of the era, there's a lingering fault or drawback that could have been smoothed over or mended. The issue with Back in the Groove's unwavering faithfulness to its predecessor is inextricable from what makes it occasionally so much fun: It's both captured the good and brought the bad back with it. System Requirements CPU: Intel Core 2 Quad CPU Q6600 @ 2.40GHz (4 CPUs) / AMD Phenom X4 9850 Quad-Core Processor (4 CPUs) @ 2.5GHz. OS: Windows 7, Windows 10. VIDEO CARD: NVIDIA GeForce 9800 GT 1GB / AMD Radeon HD 4870 1GB. FREE DISK SPACE: 3 GB.

Computer hardware makers are running out of things to apply RGB lighting to, so Corsair said, 'Screw it, here are some RGB towers, go to town'. Only the company was a bit more elegant in its pitch, saying these RGB towers allow you to "surround yourself in a symphony of color." I felt like we could already do that, what with RGB being applied to case fans, keyboards, mice, RAM, motherboards, coolers, speakers, LED strips that you can attach to the back of your monitor, and the list goes on. Hell, there's even an RGB wig, as our friends at Tom's Hardware highlighted a couple of years ago. There are very few stones left unturned. Now thanks to Corsair and its new iCUE LT100 smart lighting towers that "bathe your room in immersive ambient lighting," there's one less. For $130, the starter kit packs two aluminum towers, each with 46 LEDs. They stand around 16.6 inches tall and are attached to a 3.74-inch base. A cable connects them to each other, and there's a separate micro USB to USB-A cable that plugs into your PC. They don't draw power from your right, though, as you also need to plug an AC adapter cable into an outlet. You can face the lighting side towards you and pretend you're rocking out on stage in front of a crowd, or turn them around to bounce the lighting off your walls for subtler illumination. And if you need to kick things up a notch, you can purchase single units, billed as expansion kits, at $59.99 a pop. Each starter kit supports up to four towers in total. Paul has been playing PC games and raking his knuckles on computer hardware since the Commodore 64. He does not have any tattoos, but thinks it would be cool to get one that reads LOAD"*",8,1. In his off time, he rides motorcycles and wrestles alligators (only one of those is true).

Box forecast first-quarter revenue above Street estimates, betting on high demand for its online software products that allow companies to manage and store content, sending its shares up nearly 9% in extended trading. The company also beat fourth-quarter profit and revenue benefiting from its add-on services and as larger companies subscribed to its products. “We are firing off on all cylinders on the profitability side and continue to drive a balance between growth and profitability,” Chief Executive Officer Aaron Levie told Reuters. As companies move online to create, share and store files, cloud storage companies are vying for a major share of the software services market that is estimated to hit $116 billion this year according to a Gartner report. The content management platform that went public in 2015 competes with tech heavyweights like Microsoft’s OneDrive and Alphabet’s Drive. The company expects first-quarter revenue between $183 million and $184 million, above analysts’ estimates of $181.8 million. Revenue rose 12.1% to $183.6 million in the fourth quarter, above analysts’ estimate of $181.6 million, according to IBES data from Refinitiv. However, net loss widened to $30.4 million, or 20 cents per share, in the fourth quarter ended Jan. 31, from $19.7 million, or 14 cents per share, a year earlier. Total operating expenses in the quarter rose 12.5% to $155.4 million, with sales and marketing costs accounting for nearly half of the costs. On an adjusted basis, Box reported a profit of 7 cents per share above estimates of 4 cents per share.

Game Informations : Developer: Miguel Concepcion Platforms: PS4 Initial release date: July 28, 2016 at 5:03PM PDT There’s an alluring sense of immediacy and simplicity to God Eater Resurrection. You jump into a mission knowing full well what your orders are, you carry out those directives, and you exfiltrate when the job is done. It’s the same kind of glamorized efficiency that makes spy fiction so appealing. The narrative device that improves on this premise is, of course, when things don’t go as planned, when the agent or squad must adapt to changing circumstances. It’s due to a shortage of these surprises, however, that God Eater Resurrection never transcends its safe, uncomplicated design. Resurrection’s world is candy-wrapped around an anime-influenced aesthetic and the medium’s ever-growing fascination with urban dystopias. Along with the variety of environments, there’s a lot of creativity to be found in the design of the enemies you’re sent to destroy: four-legged beasts with faces of old men, living iron maidens, and large bipedal lizards with stylish helmets. You play the newest member of a team of god-killing soldiers, a group of teens and 20-somethings who’ve managed to survive an apocalyptic event in which hostile demon-beasts dubbed “Aragami” took over the world. As with many teen-targeted manga-styled ensembles, the cast is a collection of distinct personalities with limited emotional capacities. All the tropes are here: the archetypically neurotic support teammate, the brooding all-business specialist, and the squad member whose bubbly, saccharine demeanor can be forgiven thanks to her usefulness in combat. Your custom character fits right in as the rookie who sounds self-assured no matter what voice type you pick. Your squad’s confidence in the face of humanity’s likely extinction is complemented by the extreme designs of their multipurpose God Arc weapons. Not only are these tools of destruction often larger than the people who wield them, but these gunblades also eat Aragami--hence the "God Eater" name. These echo the kind of transformable armaments found in Monster Hunter and Vanquish, only they’re infused with the ferocity of the beasts they kill. Resurrection’s faithfulness to the original PSP version, Gods Eater Burst, underscores its limitations. The original appealed to that specific on-the-go audience that enjoys brief play sessions. It’s a different set of expectations in the context of a console in a living room, where it feels more natural to tear through a dozen missions in one sitting. It’s unfortunate that you can’t take on multiple assignments in Resurrection without enduring the time-consuming process of returning to base to assess your rewards after every mission. There isn’t depth in combat so much as there are multiple moments in a fight where you need to adapt to changes in an Aragami’s behavior. When it’s enraged, you keep your distance, and when it tries to escape, you give chase. It’s like a chess match where the opponent always gets to make the first move. While the majority of the sorties are involved, there’s little room for improvisation. You can pick up the pace of play by using attacks that capitalize on an enemy’s elemental weaknesses, using consumable enhancements, and, most significantly, using the God Arc to bite a chunk off the Aragami. These mid-conflict opportunities not only provide a temporary stat boost for your customized protagonist but to your teammates as well, provided you can spare a couple of seconds to shoot your buddies with Aragami-infused ammo. Yes, you have to fire at your squad. It's unusual, but it sure beats having to run up to them to enhance their abilities. The straightforwardness of Resurrection’s missions is both its greatest strength and most frustrating weakness. There’s comfort in knowing what you’re getting into and in the specificity of your missions. Unfortunately, it takes less than a few dozen quests before monotony sets in. There’s a modicum of gratification in maxing out your gear to keep up with the increasing difficulty of every subsequent batch of missions, yet there’s also a palpable sense of routine, since the Aragami throw very few curveballs. This uncomplicated approach has one bright spot: It’s easy to manage your team, which is both self-sufficient and made up of meaningful contributors. Given that boss battles can reach a frenetic pace, it’s often more sensible to leave your buddies to their own devices. The simplicity of the maps reinforces this level of ease. Resurrection avoids the Monster Hunter-style loading-screen tedium of chasing your prey from area to area. A ranged strike from anyone on your team will stop a fleeing Aragami. Rarely does a target use the terrain effectively enough to find respite for longer than a few seconds. There’s a bit more depth to be found in Resurrection's customized gear and crafting systems. Player progression doesn’t rely on gaining experience through kills but rather on weapon upgrades and other improvements. The challenge lies in ensuring you’re well-rounded enough to have a countermeasure for every enemy type. It’s a compelling judgment game to build a small collection of melee weapons that address every possible Aragami weakness, whether that’s through crushing, piercing, or slashing attacks. Then you have to factor in the weight of each weapon in the field and to determine how much damage you can deal per second. The one downside? There’s no item or weapon so rare or exceedingly useful that would warrant replays of any operation. Aragami item drops and the mission-completion rewards are abundant enough that you’ll always have items to craft and gear to enhance. Beyond crafting and buying new gear, there’s little reason to spend time at your base, despite the game’s implication to the contrary. Conversations with NPCs are mostly superficial, save for the occasional chat that triggers the next batch of missions. HQ is merely a poorly created illusion of a grander base of operations, especially given the organization’s in-game role in saving humanity. For as much as Gods Eater Burst excelled in 2010, it’s since been outpaced by similar games. That includes prey mounting in Monster Hunter and a more engrossing atmosphere in Toukiden: Kiwami. There’s comfort to be found in the simple mission goals, but it’s impossible to ignore how repetitive they are--and how outdated they make Resurrection feel in practice. System requirements OS: Windows 7, 8, 10. Processor: Intel Core i3 4130 3.4 GHZ / AMD FX-4100 Quad-Core Processor 3.6GHz. Memory: 8 GB RAM. Graphics: GEFORCE GTX560 1GB / AMD Radeon HD 6850 1 GB. DirectX: Version 9.0. Network: Broadband Internet connection. Storage: 15 GB available space. Sound Card: DirectX compatible or onboard chipset.