# Ret-H@CKer

@Flenn. : 12 @# Ret-H@CKer : 2 Be Ready for the next one ? @REVAN 4GP For Flenn .

the only thing better than making fun of a game that doesn't live up to its hype, is playing a game that exceeds lofty expectations. Tom Clancy's Splinter Cell is not only the shining new superstar of the novelist's videogame brand, but it's a game that will put the Ubi Soft Montreal development house on the map. Ever since gamers caught a glimpse of the early screenshots back in the spring of 2002, the biggest question about Splinter Cell SEE DEAL , right after "Is it really that pretty?" was "Yeah, but is it going to be fun?" Now upon the game's release, the answers to each of those questions are "Hell Yeah" and "Damn Right," respectively. The key to Splinter Cell's success is that every single element of the game --including the story, graphics, sound and every minor detail in between-- is designed to focus your attention on the gameplay theme of espionage. You are in control of a highly trained operative and you're supposed to think like one. Even with all of the awesome weaponry and gadgetry you'll have at your disposal, your own mind is the most important piece of equipment in Splinter Cell and this is reinforced throughout the game. Few games have been this successful at immersing the player into a such a well designed simulation and maintained this feeling throughout the entire experience. If Splinter Cell has a weakness it's that, as a single player only videogame, eventually it has to come to an end. But this is the best single player experience you will have had on your Xbox since a little game called Halo launched the system. Story You're in control of Sam Fisher, an ex-CIA, ex-Navy SEAL who's called into service at the request of the National Security Agency. The NSA, with its unlimited resources, has commissioned a new sub-agency called Third Echelon --the original title of the game-- to gather intelligence in the colder, more cruel geopolitical landscape of 2004. Third Echelon has the latitude to deploy Splinter Cells, highly trained operatives who are granted the "Fifth Freedom" to do whatever it takes to protect the four cornerstone American values: freedom of speech, freedom of worship, freedom from want and freedom from fear. While we're not sure what part of the Constitution they're getting these from, we do know that Sam Fisher's Fifth Freedom means he can kill without regard to sociopolitical consequencess. The downside is that if Sam's ever caught doing dirt, the US government will disavow any knowledge of his existence. It's like James Bond's license to kill, but with an extra dash of ruthlessness because Sam Fisher is totally on his own. As an operative of Third Echelon, you're only given the information you need when you need it. You're actually uncovering facts and plot twists as you proceed through the game. Your first mission in Splinter Cell begins innocently enough with you heading to Georgia (the republic, not the US state) to investigate the disappearance of two CIA agents. One had infiltrated the Georgian government before disappearing, and the other disappeared while investigating the disappearance of the first missing agent. Sam Fisher is sent in because they know he's a badass and won't be disappearing on anybody. From this simple beginning, you uncover facts and scandals that lead you all over the globe --including a mission through CIA headquarters in Virginia-- to find the information necessary to prevent World War III. In very clever Tom Clancy style, the end results of your successful missions are presented through the filter of a 24 hour news network. The anchorman's top stories involving apprehended terrorists and disasters being avoided are all your doing but are attributed to generic "officials" and "authorities." The TV news bits provide a nice overview of the story, but you're the one actually interrogating people, eavesdropping on conversations and intercepting critical email messages. It's all done in a very real world context. So when you figure out that the Chinese general and the Russian mobster are in cahoots, nobody actually says "You, General Xia and I, Mr Grinko, will come together to rule the world!" like it's some kind of comic book. Instead you overhear one half of a phone conversation where plans are being discussed and all of the bits of info you've gathered so far give Sam and Third Echelon a hunch of what's going to happen next and what needs to be done. The game will always breakdown and present the important information to you by way of a briefing from Third Echelon headquarters so you'll know what's going on, but the savvy Splinter Cell player who really wants to get into the game can just pay attention to what's being said. It's in this way the Splinter Cell remain linear without feeling confined by an obvious storyline. Yes the world is in danger and needs to be saved, but the who, what and why unfold as you go along. If you buy something through this post, IGN may get a share of the sale. For more, learn more. Gameplay Stealth-based third person action games like this began with Metal Gear Solid back in the day, but Splinter Cell SEE DEAL represents the most recent evolution of the subcategory. Unlike many other third person games where you're a one-man army on the warpath, Sam is not equipped to stack up hundreds of bodies throughout the game. This doesn't mean that you can't mix it up with some fine displays of marksmanship and firepower, but it definitely is not the focus of the game. Sam is on the hunt for tightly guarded information and evidence, so the control, his equipment and the levels are designed around getting him into and through places he's not supposed to be, while allowing you to handle any unforeseen problems that could jeopardize the mission. Hostile Environment Sam begins most missions on the perimeter of his objective with a specific primary task at hand and an entire level of enemies and other characters waiting for him. As you proceed through a mission, your goal is to disturb those characters as little as possible and if you have to alert them, make sure it's on your terms so you can control the situation. This is the key to understanding Splinter Cell, because losing control of the situation usually means a sudden death for Sam, thanks to the good old one-shot, one-kill style Tom Clancy games are known for. Enemies will react to Sam's gunfire, noises he creates, his shadow and bodies he leaves behind. A guard spotting a shadow or a glimpse of Sam as he ducks in and out of shadows will merely become curious and begin investigating the area in question. More severe actions like gunfire or a clear look at Sam will cause them to draw their weapons, sound alarms and/or notify other guards nearby. Like Metal Gear Solid 2 Substace enemies will mutter to themselves about losing their minds or seeing things when a quick investigation turns up nothing. Unlike MGS2, however, alarmed enemies don't simply give up and meander away after being shot at. The difference between the state of alarms and what you can get away with is extremely important because you can use this to your advantage by throwing cans and bottles to create distractions. Plus you're always given an unmistakable bass note audio cue whenever you've done something to alarm an enemy. Knowing the enemy and their tendencies sounds like something a real secret operative would have to do, so we're sold on its application in Splinter Cell. You also have to worry about plenty of pesky cameras in Splinter Cell. Listening for their distinct beeping as you move into new areas can mean the difference between success and failure. Some cameras can be disabled with a well placed bullet, others are in bulletproof housing and simply have to be avoided if you don't want packs of guards swarming you in a matter of seconds. Making the Moves Sam has more moves available to him than your typical ninja and mastery over every single one of them, with the notable exception of the Van Damme split jump, is required. Moves to keep Sam Fisher quiet and undetectable as well as moves to get him up, over and through difficult obstacles are all at your fingertips and the game has a required tutorial to get you familiar with all of them. When it is time to shoot, switching to a hybrid over-the-shoulder first person perspective and negotiating your accuracy meter as you move the reticule means instantly switching your thinking away from stealth mode into combat mode. This isn't as easy as you'd think, and it's an intentional move by the developers to stick to the spirit of the game: stealth. You can still move and aim when you hit X to draw your weapon, but it's all much slower for the sake of maximizing your accuracy?just like you'd have to do in real life. Besides you will end up shooting more lights and cameras than enemies in Splinter Cell, and they make for pretty easy targets. If that doesn't convince you this is a stealth game, then nothing will. Physically interacting with characters is one of the highlights of the game and one of the things that will really make you feel like an invisible, invincible super agent. First off you always have to sneak up behind the victim whether it's a computer nerd on the wrong side of justice, or an enemy commander whose eyes are the key to a retinal scanner locked door. Interacting with the environment is contextual and always tied to the A button so that you'll get an on screen prompt whenever you have the opportunity to do something like flip a switch, pick up a can or grab a character. Grabbing a character will cause Sam to put an arm around their neck and his pistol to their temple, or if unarmed, he'll use a modified sleeper hold. The coolness of grabbing folks is increased when you also have the opportunity to interrogate them or force them to do something. Once grabbed you have to drag the victim over towards the retinal scanner or computer where you'll get another interaction prompt. Hit A and Sam automatically takes care of the rest. When you're done with the victim, hitting attack (right trigger) makes Sam quietly conk them on the head knocking them out. These character interaction sequences are extremely rewarding and thankfully are required throughout the game, especially on missions where you can't smoke anybody like your fellow Americans. The camera system is perhaps your greatest asset. It's a third person game with a completely free-floating camera controlled on the right analog stick. It stays locked to the back of his head, so Sam looks where you're looking as long as it's behind him. But the camera can also "unhook" and swing 360 degrees around Sam's position. This way you can see things around corners and in other tight spaces where Sam couldn't necessarily see and, more importantly, nobody can see him. With no radar, this is the only advantage you'll have if you want to get sneak peeks at enemies. The free camera is the perfect system for a more wide open stealth game like Splinter Cell SEE DEAL , where a smart cam worked best for a more confined, pre-planned stealth game like MGS2. Slipping Into Darkness Any discussions about the game's level design has to begin with a look at the revolutionary lighting and shadow system. This may be a single player game, but the light of Splinter Cell is the second most important character besides Sam Fisher. The lighting of each level gives it its personality and shapes the challenges that you're going to face. The one overwhelming instinct you'll have early on in SC, is the desire for darkness and quiet. The game becomes more difficult because it becomes tougher to find, maintain and create the darkness you desire as you face less hospitable places and more characters out there looking for you. Shooting out lights is nothing new in videogames, but it's never been as functional as it is in Splinter Cell. Shooting out every light in a hallway will create total darkness to the point that your TV screen will have nothing on it beyond the HUD and the slight green glow of Sam's goggles and secure radio. Enemies will be completely blind and will walk with their hands out in front of them as they search for either a light switch or Sam, if they've been alarmed. Nightvision goggles will give you a huge advantage in the dark, but as you continue through a level and encounter new areas that aren't in total darkness, the lack of color in the nighvision display (everything is a shade of pea-green) can suddenly work against you if you're not keeping one eye on your stealth meter. Again, the realities of the tradecraft, at least as we imagine it, are well represented. In later levels the subtleties of orange lights in the Georgian Presidential Palace or bright neon signs on far off buildings around the Chinese Embassy in Myanmar cast just enough light on Sam to barely make him visible. This is compared to the abandoned dummy high-tech company, where the skeleton staff means the majority of the building is dark. But there's all kinds of light in certain areas where workers are still buzzing about. You have to pay attention to the lighting situation at all times so you can come up with your on-the-fly plan of attack. To increase difficulty as you proceed from mission to mission game simply makes some situations more annoying than others (those orange lights are no fun), but you always have the tools you'll need to get by. It's really up to you to figure out your own way through the game. You're on Your Own In Splinter Cell, you're more or less dropped into a situation with a specific set of equipment and given an initial objective. Other than this, you have to learn to use your noodle to figure out what's expected of you. You're given a limited amount of ammunition and other goodies like grenades, sticky cameras and smoke bombs. However, you're never given clues or prompts as to when or where you're supposed to use these items. Unlike EA's recent James Bond games, there's no flashing icon or obvious camera zoom during a mission fly-by to point out what you need to do. And this is what makes Splinter Cell so enjoyable. Your pistol comes with 40 rounds and your rifle will have 60 bullets when you begin a level but it's up to you to budget how they'll be used. If you insist on treating SC like a shooter and pump a dozen extra rounds into a dead body just to see him jump, then don't complain five minutes later when your weapon is dry and there's a chandelier and two cameras that need to be shot out. When you do encounter areas of the game with healthy stashes of ammo and health (there are only a handful throughout the whole game), this is usually your best indication that a firefight is nearby. You may have just survived it or it may be on the way, but that stuff is there for a reason. Not having any guidance other than a few clues and an objective might seem like a good way to get lost and frustrated, but Splinter Cell even has an answer for this potential problem. Exploration is a big part of the game, but even when you're simply looking around for what to do next, you have to be mindful of your surroundings, stealth meter and enemies. It's almost like staying covert is the consistent minigame throughout Splinter Cell and it's something you're always doing as part of the process of accomplishing mission goals. All you may know is that you have to find and interrogate the gangster's chaffeur who's waiting in a parking garage and that this is all the matters to your bosses at Third Echelon. But you have to do all of the sneaking around and neutralizing so Sam can get there. This is the essence of what you're doing throughout the game. In keeping the game's cinema feel, there are all kinds of events that Sam can trigger by reaching certain areas of a level. The levels are designed in such a way that you'll rarely miss one of these triggers since you're conditioned to explore early on in the game. Later in the game, hitting these event triggers become crucial because of time issues. In one sequence where you have to follow a pair of Chinese officers into a keycode locked door, you have to hide around the correct corner and wait there before they'll show up to even enter the room. Then you have to wait for the two men to enter the code and walk in the room, before you come out from hiding. The trick here is to get to the keypad fast enough to use your thermal goggles to check the heat signatures from their button presses. In a mechanic that will become quite familiar to you throughout Splinter Cell, you will at first waste many lives trying to figure out the correct sequence of button presses, since you can only see what buttons they pressed, not the order they pressed them in. The intelligent Splinter Cell operative would use only two lives in the process: one to watch the heat signatures as they change from hot to cool in the order that they were pressed and the second one to input the correct code and enter the room. So as we can all see, you are on your own in Splinter Cell, but you should be okay as long as you remember to bring your brain along. Gear On Sam's custom made Palm PDA, he's got mission objectives, notes and a hard data center. Briefings from Lambert, your Third Echelon contact, usually translate into mission objective as he relays new information to you over the course of a mission. The notes area is where you'll store passcodes for doors and other necessary info you'll need to get through the mission. This area has less and less information as you progress through the more difficult missions. The data center is where you keep all of your information files you've gathered via data stick from enemies, computers or Grimsdottir, you're intelligence liason at Third Echelon. The data, notes and objective sections of the PDA all work together to cross pollinate each other with information. For example, when you take a data stick from a computer or downed enemy, you'll get the entire text of the email message complete with date, sender, recipient, salutations and all that. These emails will sometimes have text that says something like "oh yeah Pete, I forgot to mention the new code for the maintenance closet is 6743, in case you need to get in there." It's cool being able to see the whole message, but the relevant information gathered from the email is also instantly sent over to your notes section where it will say "the maintenance closet passcode is 6743." This is how Splinter Cell SEE DEAL covers all of its bases to facilitate the experts and the newbies. Tom Clancy novels are known for showcasing technology and gadgets that are just around the corner in our near future. Of all the cool gadgets in Splinter Cell, the diversion camera and sticky camera have to be among the top two coolest gadgets ever. Again, you're never given prompts on when to use these items, but shooting either of these cameras into an unsecured area using the secondary fire on your rifle is a great way to see what's going on without risking being seen. Deploying these cameras gives you a point of view from that camera and since you shoot it into position it's usually within Sam's line of sight. The sticky camera has zooming capabilities along with thermal and night vision, making it as effective as a second pair of eyes. The diversion cam doesn't have all of the recon functionality of the sticky cam, but it does give you a new point of view and tapping the B button causes the camera to make a whistling noise, great for drawing suspicious guards off your trail or into a remote area. But of course Splinter Cell goes the extra step and gives you a full dose of knockout gas on the Y button so you can quietly take down any guards that come around investigating that whistle. The catch with each of these cameras is that they're one use only. As soon as you pull the right trigger to return to Sam, you can't toggle back to that camera, so you have to make sure you see everything you need to see while you can. Plus Sam is totally vulnerable while you're looking through the cameras so it's best not to leave him exposed. Even with super cool 21st century gadgets you can't forget to use common sense. The lock pick and fiber optic camera round out the gadgets you'll be using most often. The lock pick isn't too special in and of itself, but how you use it is a brilliant innovation. Engaging the lock pick on a locked door brings up an overlay of the pick and the lock's pin and tumbler assembly. Moving the left analog stick until you feel your controller rumbling is how you find the sweet spot for that particular pin, the pick is working on. You hold it on the sweet spot until you see the pin for that part of the lock drop into place. Then it's time to move on to the next pin and find its specific sweet spot. It takes time to open doors this way, so this yet another realistic system Sam has to handle. Graphics If you didn't know already Splinter Cell has some of the most impressive lighting effects, character models and animation ever seen in a videogame. If this title wasn't so fun, the visuals would easily be its strong point. The lighting in Splinter Cell, as we said, isn't just some effect where you have lamp in a room but that room itself is actually lit by some mysterious off camera source. Ubi Soft Montreal has simulated the behavior of light to the point where everything is self shadowing, and the only way you're able to see what's going on in the game is because of the lighting device in the scene you're playing. Whether it's overhead halogens, a bank of monitors or the glow of a brilliant full moon, you'll always know where light is shining from and so you'll be able to anticipate where and how shadows will fall and which ones need to be shot out. The developers even simulated the different shines you get from banks of several halogens versus the harsh lighting from a single exposed light bulb in a dingy hallway. Light shines through trees, latticework and even chain link fences and falls on whatever may be on the other side. So when Sam is facing a giant glowing billboard whilst hanging from a chain link fence the fence will cast a network of shadows on him with the glow of the billboard lighting the negative spaces. Sam Fisher is rendered beautifully even though his suit is stealth black from top to bottom. When you take the time to look, you can see his equipment straps and pouches drawn in exquisite detail right down to the snaps and buckles. Throughout the game you'll even notice Sam change into his short sleeved temperature controlled suit when he's in the tropical climate of Myanmar. On the last mission he dons a ski-mask that only leaves the eyes exposed. When he flips down his goggles, he's the spitting image of GI Joe's Snake Eyes. It kind makes you forget little details like Sam's graying temples and obvious five o'clock shadow that he sports the rest of the game. Sam's lips move when he interrogates people or talks to Lambert, and you can even notice emotions creeping across his face if the camera is in the right position. But enemies speak and emote just as well, albeit not as often, as our hero. The movements of enemies tend to be noticeably stiffer than Sam Fisher's but they're still intricate and believable. An enemy investigating an area will lean forward with his rifle raised and creep slowly as opposed to strolling along confidently when they're not in alert mode. When you die you often get a glimpse of them turning their heads to speak into their shoulder-mounted radios to report the American spy they've just killed. Sam himself moves with more stealth and cunning than most videogame ninjas you'll see. When he moves in crouch mode, the Unreal 2 engine is sophisticated enough that he appears to be timing shifting his weight from foot to foot so as to make less noise. The difference between walking and running in crouch mode is made clear not only by Sam's speed but by the fact that he uses one hand to hold his pistol in place to keep it from jostling and making noise. Sam can rappel down ropes and even slide down quickly like a SWAT team member by lunging away from teh building with both legs. When he draws his gun in this situation, the animation of him reaching for his holster and transitioning to the hybrid-first person perspective is as silky smooth as when he puts his sidearm back into his holster and we return to third-person mode. The only problems Splinter Cell has in the graphics department are the clipping issues and occasional drops in framerate. The oil rig level, with its burning fires, attack jets and brilliant sunset-orange sky is pretty but it also taxes even the Xbox's processing ability since this is the level that chopped up the most in our opinion. The clipping can get bad when you start mani[CENSORED]ting that free camera in tight spaces or when doors open and close suddenly. Sound Splinter Cell boasts outstanding voice acting, an excellent score, superior sound effects and just some of the best application of sound in a videogame we've ever heard. Like everything else about the game, the audio is intended to re-focus your attention on the stealth action. You're doing yourself a disservice if you play this game with the sound turned down. If you're hearing a lot of ruckus at any point in Splinter Cell, that usually means something intense, horrible or horribly intense is happening. This is because the music of the game changes up to match the mood of the situation you're in. A big gunfight will give you a heavy guitar track plus all of the bullets, echoes and yelling you might expect. Sneaking down an empty hallway is usually pretty quiet with background sound effects filling up the sound space to keep the game from feeling empty and boring. Michael Ironsides is the voice of Sam Fisher and good old Jester has the perfect tone to play a secret operative who has seen it all. All of the characters in the game are all well done with inflections, accents and subtle emotions all coming through beautifully. Sam and his NSA contact, Lambert, chat with each other regularly throughout the game with varying levels of tension. You get the feeling that while Fisher is always going to follow orders, he still doesn't completely trust Lambert or his new bosses. That's some mighty fine character development for a videogame where you can't see the actors' faces. Drama and comedy are a big part of what moves Splinter Cell's story and it's all done through voice. You can overhear some genuinely funny conversations that have nothing to do with the mission if you're in the right place at the right time and paying attention. There's a reason why the embassy chef let's a soldier spit in the pot of soup he's making, but you have to be patient and listen. Listening to the variety of conversations going on at CIA headquarters --be sure to check the briefing theatre-- is a good way to find out how that agency operates. Really, it's a good idea to slow down and listen whenever you encounter a situation where you can hear people talking in Splinter Cell. Sometimes you'll get critical info or a good chuckle. Either way you should be impressed. One of the most important sounds of the game is the quick base note you hear whenever an enemy is alerted to your presence. It's a sound you'll learn to recognize even when there are conversations or other noises going on. Rather than a radar telling you that the enemies are on you trail, the alert music that follows this initial indicator is the only way you'll know what's going on and when it's safe to proceed once it stops. All of these sound elements are coming to you through fine 5.1 audio. Not that you have to have a surround setup, but you really are missing out on that last piece of stimulation that really immerses you in the game if you're just using your TV speakers. Explosions are as shocking and nerve rattling as they should be with the subwoofer kicking in and all of the subtle sound effects like weapon reloads, typing on a keyboard, walking on broken glass and zipping down a line are better when they come from the right direction. Verdict This is the kind of game I imagined when I used to dream about the experiences next generation consoles were going to give us. Splinter Cell is one of the smartest games I've ever played in that it challenged me to lose myself in this world of espionage and to use everything I think I know about secret operatives to get through it. While there were plenty of times I would get caught in a trial-error-death cycle trying to clear a certain part of the game, I never once felt helpless or confused to the point where I was ready to blame the developers for poor level design or something. When you run into a difficult part in Splinter Cell that's just kicking your hide, it only means you're not thinking outside the box and exploring all of your options. It's not quite as open as a Grand Theft Auto game, but there are unorthodox ways of solving some problems. But in this world of super spies, there's no such thing as unorthodox, just do or die. This game literally shines on the Xbox and has enough gameplay hours to satisfy dedicated Halo junkies who've been waiting for the next landmark single player game on the system. Since you can play with varying degrees of stealth and aggression, you'll have every reason to play through Splinter Cell multiple times. I often found myself saying "Whoa, I don't know if gamers are going to be ready for that." But once Splinter Cell is in your system, and this game has a perfectly balanced learning curve, you will be ready for all it has to offer.

What is it? The second-generation X1 has been a huge success for BMW. Since its launch in 2015, sales of the high-riding Audi Q3 and Lexus NX rival have significantly outnumbered those of the model introduced back in 2009, hitting a peak of more than 280,000 units worldwide last year. However, enduring success in the premium compact crossover-cum-SUV ranks is by no means a given, even with a model so keenly sought as the X1. So, with the spectre of tougher emission regulations requiring upgrades in engine technology and new competition in the form of the impressively credentialed Mercedes-Benz GLB, BMW has decided the time is ripe to ring the changes. The styling revisions brought in the mid-life facelift for the X1 are more substantial than we’re used to seeing from BMW – acknowledgement, if you will, that the exterior design of the second-generation model has perhaps lacked the visual impact of its rivals up to now. Included are new LED headlights, a more prominent grille, a revised front bumper and rectangular floglights in place of the round units used before. There are also revised LED tail-lights, a revised rear bumper and a new range of alloy wheel designs to choose from. Find an Autocar car review Driven this week BMW 118i M Sport 27 SEPTEMBER 2019 FIRST DRIVE BMW 1 Series 118i M Sport 2019 UK review Big improvements in practicality and refinement serve BMW’s bottom-rung model... Mini Clubman Cooper 2019 first drive review - hero front 27 SEPTEMBER 2019 FIRST DRIVE Mini Clubman Cooper 2019 review Can mild tweaks make Mini's quirky family car competitive with the... BMW X1 25d 2019 first drive review - hero front 27 SEPTEMBER 2019 FIRST DRIVE BMW X1 xDrive25d 2019 review Compact crossover gets new looks and a more upmarket interior, but the top-... Article continues below advertisement Inside, BMW has concentrated its efforts on giving the X1 a more upmarket air, with higher-quality materials and new features, including a 10.3in infotainment touchscreen that can also be operated by a rotary controller and voice commands. The facelifted X1 line-up starts with the front-wheel-drive sDrive16i, featuring a turbocharged 1.5-litre three-cylinder petrol engine, and culminates with the model driven here, the four-wheel-drive xDrive25d, with a turbocharged 2.0-litre four-cylinder diesel engine. In all, there are seven different X1 models, including the new xDrive25e plug-in hybrid that's planned to follow the initial facelifted line-up into showrooms in the UK in 2020, offering an electric-only range of up to 35.4 miles on the WLTP test cycle. Three models offer the choice of front or four-wheel drive, while the remainder feature four-wheel drive as standard. What's it like? We’re not yet convinced the 1575kg xDrive25d is the pick of the line-up, but with 228bhp and a healthy 332lb ft slug of torque available between 1500 and 3000rpm, it certainly delivers on the performance front. Sold as standard with an eight-speed torque-converter automatic gearbox, it possesses strong step-off qualities and urgent low-to-mid-range acceleration by class standards, as evidenced by its official 0-62mph time of 6.6sec. The revised engine, which uses an SCR catalytic converter featuring urea injection, is quite smooth and well isolated. It’s also quite economical, with combined consumption of 57.7mpg and CO2 emissions of 128g/km on the WLTP cycle. BMW says it hasn't changed the tuning of the X1’s chassis. The dynamic properties clearly benefit from a taut spring and damper package and the four-wheel drive system – both of which provide the xDrive25d with inherently sporting qualities. The weighting to the steering is well judged in both Eco and Comfort modes, although it continues to feel artificially heavy in Sport mode. Body control is also quite impressive by class standards, with nicely progressive roll rates. Our test car rode on the optional 19in alloy wheels shod with 225/45 Pirelli P-Zero tyres; in combination with the four-wheel drive system, they provide plenty of lateral grip and great traction when you're pushing on along winding back roads. Ultimately, though, the xDrive25d fails to deliver the sort of comfort that many buyers in this class will be seeking. On anything but completely smooth roads, its ride is unsettled and sometimes quite choppy. Small road surface imperfections make their presence felt at typical urban speeds, even in Comfort mode. Things are a little calmer at motorway speeds, but progress is often upset by aggressive rebound and sharp vertical movements. Should I buy one? The xDrive25d is a quality product with good everyday versatility, no doubt. It also possesses a good turn of speed, thanks to the urgent qualities of its engine, and is quite engaging to drive on the right roads. However, it trades off too much in the way of compliance to make it truly enjoyable. We suspect the cheaper and less powerful xDrive20d is a more rounded proposition. BMW X1 xDrive25d specification Where Munich, Germany Price £36,345 On sale Now Engine 4cyls, 1995cc, turbocharged, diesel Power 228bhp at 4400rpm Torque 332lb ft at 1500rpm Gearbox 8-spd automatic Kerb weight 1575kg Top speed 146mph 0-62mph 6.6sec Fuel economy 57.7mpg CO2 128g/km Rivals Audi Q3, Lexus NX, Mercedes-Benz GLB

In this Day , The Most Epic GAY & Sexy Girl Of CSBD Had Born ? Happy Birthday Noob ?

Key Specifications Review Price: £20.99 Developer: SpectreVision Genre: Adventure/Puzzle Platforms: PS4, Xbox One, PC The collaboration between Ubisoft and Elijah Wood’s film production company SpectreVision, Transference claims to be “a thriller that feels like a movie, but plays like a game”. While it provides an engaging narrative mystery and rich atmosphere over its movie-length playtime, I’m left wondering what Transference does that games haven’t done before. Transference is a first-person, narrative-driven psychological thriller set inside a computer simulation. A brilliant, but deranged scientist named Raymond Hayes has invented a way to convert human consciousnesses into a digital state, uploading himself and his family (his wife Katherine and his son Benjamin) into a virtual world. As you explore the digital realm, it quickly becomes evident that things haven’t panned out as Raymond had hoped. You find yourself in an apartment filled with glitches and corrupted areas blocking your path, while a distorted monster stalks the halls. You must endeavour to restore these corrupted areas and ultimately defeat the beast that haunts the family’s digital existence. In practice, fixing the errors and glitches within the simulation is achieved by solving escape room style puzzles. The puzzles are simple enough, usually just requiring you to enter a password or find a key to open a door, but they’re well-grounded within the unfolding story, never feeling like arbitrary stumbling blocks thrown in there for gameplay’s sake. The glitched areas of the apartment all feature a missing file name which gives you a clue as to how to repair them if you’re struggling. The usual array of collectibles are found littered throughout the game, taking the form of audio and video logs which fill in the backstory of the family and the series of discoveries that led to Raymond’s disastrous experiment. These video logs are live-action and of extremely high quality, as you would expect with the movie industry experience that SpectreVision has under their belt. Each actor puts in a stellar effort to show their character’s underlying issues with relatively little screen time. Perspective and perception are key themes in Transference – the idea that what a person sees and remembers is unique to them. This manifests in the game as three different versions of the apartment that you switch between using coloured light switches, each representing one of the three family members. Each person’s world is shaped by their perspective on the situation, with subtle – and not so subtle – clues littering their version of the apartment. The walls are covered in scrawling equations in Raymond’s world to represent his fixation on his work, while Benjamin’s focus is on his missing dog Laika, his best friend. The symbolism and messaging can be a little heavy-handed at times, especially when driving home the key points of the story, such as Raymond’s obsession and his wife Katherine’s depression, but there’s a lot of low-key storytelling going on in the background details, too. Those looking for a traditional horror experience will find themselves disappointed. The monster only pops up a handful of times, usually telegraphing its jump scares well in advance. Instead, Transference deals with more cerebral, real horrors of the world with depression and abuse at the forefront. As a result, you’re more likely to find yourself feeling uncomfortable and disturbed, rather than out-and-out terrified, but this more understated horror is a welcome change of pace from the jump scares and hyper gore that the genre typically shoves down our throats. The department that Transference is almost flawless in is atmosphere. The simulated world succeeds expertly in feeling like a poor facsimile of the real world – a mash-up of twisted perspectives and poorly remembered details that looks the part but doesn’t quite feel right. The visuals, score, and sound design riff off each other beautifully to create a genuinely unnerving environment. The aim was obviously to ensure that, much like its inhabitants, you never feel comfortable or at ease in the hell that Dr Hayes has inadvertently created and in this regard the developers have nailed it. It should be noted here that one of Transference’s big selling points is that it is available as a VR title on Oculus Rift, HTC Vive, and PSVR. I played the Xbox One version and did not have access to the VR functionality of the game. Given how impressed I was with the atmospheric, immersive world that the developers crafted in the standard experience, I can only imagine VR amplifying these strengths. Where Transference stumbles is with its wild claims of finally bridging the gap between movies and games. Transference offers a deeply engaging story, excellent production values, and fantastic pacing, but none of this is new to the genre. Games like Gone Home, Tacoma, and Firewatch have delivered exceptional narratives covering serious issues before and claims to be breaking new ground here smack a little of arrogance. Transference’s incessant boasting about blending movies and games also comes back to bite it when we come to discuss the value proposition. My first playthrough of Transference took just over two hours, grabbing most of the collectibles along the way. This plants it firmly as a movie length experience, much as Ubisoft and SpectreVision intended. However, Transference currently costs £20, which is too rich for my money. Given that similar titles in the ‘walking simulator’ genre like Firewatch and Tacoma have offered substantially longer experiences for less, it feels like you’re paying the VR tax to play Transference. Verdict Ultimately, Transference weaves an effective, but grim tale of one man’s descent into the madness and the horrific fate that he has sealed for his family. The puzzles aren’t particularly challenging, but their difficulty works well within the pacing of the story, engaging your brain enough without dragging the story to a halt. Its claims of ‘bridging the gap between games and movies’ fall flat, but if you can stomach the hefty price tag, Transference is a worthwhile addition to the narrative-driven puzzle game genre.

Ultralightweight gaming mice have exploded onto the market, from Final Mouse to the Glorious Model-O these mice have spurred a whole new group of peripheral enthusiasts. Recently we took a look at Razer’s response to this changing landscape with their well-received Viper ambidextrous gaming mouse, today it’s Cooler Master’s turn. Introducing the Cooler Master MM710, an aggressive little mouse that Cooler Master thinks may sway you in their direction for those in search of the holy grail of gaming mice. The funny story here is there’s not a whole lot to really talk about when it comes to the mouse itself, it’s almost skeletal in nature and that’s part of its allure. The mouse comes in at a rather small 117mm long, 63mm wide, and 38mm tall and while they claim it’s for Claw, Palm, or Fingertip grip you’ll likely find yourself in either Claw or Fingertip grips unless you have abnormally small hands. The cable is 1.8m long and features their ultraweave cable that is close to paracord in lightweight and flexibility, I actually prefer it over Razer’s speedflex cable design. Switches on the left and right mouse button are supplied by Omron 20 million click rated switches that have a really nice sound signature and are near-instant in actuation and have very little to no movement inside to side play of the button itself, the scroll wheel feels solid and not loose at all with very distinct stepping while scrolling and a resounding THUD when dropping down for that center mouse click. The side buttons have differing sound signatures that help distinguish them audibly and are really responsive, but have a mushy feeling once activated leaving them feeling sub-par to the rest of the mouse’s quality. The bottom of the mouse centers the Pixart PMW 3389 Sensor that features up to 16,000 DPI but comes defaulted to 1200, this can easily be adjusted on the fly using the DPI selection button on the top of the mouse between the Left and Right buttons. The Low Friction 95% PTFE Feet aren’t the smoothest I’ve ever felt, but they still help retain some control over a mouse this light. Now Let’s talk about the body, made of ABS plastic, and in either a white design or black design in either matte or glossy, this shell is the star of the show. Not just because it looks like Cooler Master loaded a shotgun with buckshot that shoots pellets shaped like their company logo, but because it’s also a crazy low 53g on the scales. The combination of rigid ABS along with the weight controlled holes they’ve achieved both a sturdy as any other mouse that practically levitates from being so light. And if you’re worried about dust and debris buildup like I was, don’t worry since they’ve sealed the components enough that I was able to rinse it out in the sink after my kid got Cheez-It dust all in it, although I wouldn’t recommend the dishwasher since they’re pretty adamant that it isn’t waterproof. So how is it to use the MM710 you ask? It’s a dream, I originally sighed when I got the mouse in thinking it was just a gimmick and who doesn’t have the forearm strength to move a Logitech G502 with all the weights, but I’m eating my words. Did it make me a better gamer? Nah, I still suck most of the time but it did, however, make me feel more comfortable after longer gaming sessions and it surprised me in the most unexpected way. I became more accurate in moving data through spreadsheets, selecting what I was aiming for in forms, and after hours of work, I could just keep going. The fact that this mouse is RGB and BS-free means it’ll fit in at work, home, and play and with a price tag of $49.99 it’s pretty much a no brainer for those wanting an excellent performing gaming mouse or really want to check out this ultralight scene without dropping $100+ and waiting months for something to ship. Cooler Master has delivered a knockout here, but I would have loved to see some contrast on the color side, something neon maybe?

In order to become a game publisher that stands out from the crowd, a company has to carve its own niche. EA is best known for its sports lineup, Nintendo's software is typically family friendly, and Midway is known for its largely arcade-style roster. Rockstar Games is quickly gaining a reputation for publishing games that manage to be both insanely fun and completely adult in nature. The company's freestyle crime slant has led to games like Smuggler's Run, Midnight Club, and the universally acclaimed Grand Theft Auto III. Now, hot on the heels of GTAIII, Rockstar is back with State of Emergency, an action-packed riot simulator filled with so much over-the-top violence that the game becomes almost hilariously funny. The publisher has defined State of Emergency as "the world's biggest beat-'em-up," likening the game to a modernized Final Fight that takes advantage of current technology. While this isn't inaccurate, it's worth mentioning that State of Emergency, like just about every game that has tried to bring the Final Fight formula into a 3D world, has its share of problems. For starters, the camera requires constant babysitting, forcing you to frequently hit R1 to swing it around behind your character or use the right stick to swing the point of view around. Even still, the camera gets hung up in tight corridors, and you'll often find yourself walking around corners blindly, only to find a large enemy force on the other side that opens fire before you even have time to reposition the camera to see them. Additionally, the basic gameplay is extremely simple, almost to the point of feeling stripped down. You have a punch and a kick at your disposal, and mashing on the buttons will execute combos. Hitting both buttons together allows you to grab opponents for throws and other holds. But the game is perhaps at its best when your character is armed. There's a wide variety of weapons in State of Emergency, starting out with simple batons and baseball bats. The game also includes a nice selection of firearms, including a pistol, an Uzi, an AK-47, an M16, a shotgun, a minigun, a flamethrower, a grenade launcher, and a rocket launcher. You'll also find some blades, namely a hatchet and a sword. Finally, many objects found around the environment--park benches, for example--can be picked up and thrown. You'll need this large arsenal to keep the corporation security forces and gangs at bay. As you proceed, the enemies become tougher and tougher to beat, as they'll rush you with larger numbers and better armaments. The game's main mode is called chaos. Chaos' main selection, confusingly called "kaos," plays similarly to Sega's Crazy Taxi. You are given a limited amount of time to earn points, but you can earn more time by picking up time power-ups, which are usually earned by killing enemies. The idea is to strike a balance between rioting to earn points and fighting to replenish your health and time. As you play, various bonuses switch on and off. For instance, on occasion, you'll earn 10 times as many points for destroying objects as you normally would, or there will be a five-times multiplier on window breaking. Also switching on and off is the civilian kill penalty, which costs you points if you mow down bystanders when it's enabled. When the penalty is off, you can freely unload your weapons into the crowd, though it should be noted that you never actually earn points or bonuses by killing civilians. The point of chaos mode is to earn points. Once you reach a certain score plateau, the next level is unlocked. In addition to the push and pull of the kaos selection, there are also variants with fixed time limits. Completing these unlocks the "last clone standing" selection, which puts you in the level with 200 defenseless drones and asks you to kill them all in the fastest time possible. State of Emergency's storyline seems like an afterthought that attempts to provide a reason for the rioting--so much so that the game's main mode doesn't contain any story elements whatsoever. In the not-so-distant future, the government is overtaken by a large corporation that is, of course, evil and extremely oppressive. As things reach big-brother-like levels, the po[CENSORED]ce, full of fear, begins to riot. You are a member of Freedom, an organization bent on overthrowing the evil government and getting things back to normal. The story only appears in the game's mission-based revolution mode. In this mode, the scoring and time limits of the chaos mode are replaced by various task-based objectives. Here, you'll advance Freedom's cause by blowing up buildings, killing corporation executives, and guarding people and places that are friendly to the resistance. Weapons are a lot harder to come by in this mode, as they're usually only given out for specific missions, rather than found on the ground all over the place. There are a ton of missions in the game, and each one must be completed to move forward. Some of the missions are well designed and fun, but most of them are either mindlessly simple tasks or frustrating trial-and-error endeavors that force you to find the path of least resistance through a part of the map to avoid enemy-heavy areas. In the end, the mission mode seems more like busywork than anything else, and it definitely deserves its secondary status. Advancing in this mode unlocks playable characters, which start at two and grow to a total of five. State of Emergency is a pretty amazing graphical achievement. While the levels don't look terribly out of the ordinary and the player models don't look especially robust, the game can put somewhere around 150-200 people onscreen without any frame rate trouble at all. Add to this little graphical effects, such as some nice-looking fire and explosions, and you've got a technical marvel that manages to look quite good along the way. Without the ability to put this many people onscreen, the game would lose a lot of its impact--there's nothing quite as satisfying as launching a rocket or grenade into a huge crowd of people and watching the blood and limbs fly. The sound effects throughout the game are pretty great, and they effectively convey the feeling of a riot. You'll hear people shrieking as they run around like lunatics, and the weapon fire is especially nice. The music consists of fairly generic-sounding techno and rock tracks. In the end, the best part about State of Emergency is the way every facet of the game comes together to form a perfect feeling of panic. It's also disturbingly satisfying to find a shotgun or assault rifle and turn a crowded, rioting mall into a complete and total bloodbath. Even once the missions are completed and the levels are all unlocked, State of Emergency has enough going for it to hold your interest. The almost mindless nature of State of Emergency makes it seem a bit harsher than Grand Theft Auto III--where there was at least a clearer method to the madness--despite SOE's cartoonish character design. As a result, this game is most certainly not for children or the easily offended. If you're the least bit squeamish about random acts of destruction or extreme loss of life, pass on this one.

Land Rover is working on a remote control system for its new Defender that would allow low-speed driving from outside the car. The system is designed for off-road use, allowing owners to negotiate obstacles and tight spots with more precision than if they were inside the car. Chief product engineer Stuart Frith confirmed the car is “capable of being able to do that in terms of its architecture." He added: "We’ve got as far as understanding how to do it, and we’ve run prototypes as well.” The technology would be an extension of the Defender’s 3D Scout system, which provides a virtual image of the car from a distance and would require the car’s wearable Activity Key to verify the driver is nearby and in control of the car. While the new Defender has advanced traction systems, clever software and better visibility with cameras and other sensors, Frith said there's no substitute for checking the surroundings from outside the car to get over obstacles. “If you’re in a tight spot and you’re on your own, you can still get out of the car and ‘spot it' yourself," he commented. While some cars already on sale can perform low-speed parking manoeuvres by remote control, adding steering to the mix and dealing with challenging terrain makes things more difficult. Legislation is currently the biggest hurdle, with regulatory bodies wanting safety assurances. Land Rover is also considering allowing owners to live-stream journey footage to the cloud using the Defender’s EVA 2.0 electrical architecture and Online Pack.

12-year-old African-American girl has accused three white classmates of pinning her down and cutting off her dreadlocks with scissors. Amari Allen says the assault happened during break time at her private school in Springfield, Virginia on Monday. She alleges that the boys held her down on a slide and called her hair "ugly" and "nappy" and cut some off. The alleged attack took place at the Immanuel Christian School, where the US Vice-President's wife teaches. The school and local police both confirmed they were investigating the incident. "The boys came up to me and they ambushed me sort of, like caged me in," Ms Allen told local media. "And so they put their hands over my mouth. They put my hands behind my back and they started cutting my hair and told me that I was ugly." Referee involved in dreadlock row is suspended 'Why I love my natural hair' NYC bans hair discrimination "They like took my lunch and ate it in front of me and told me I didn't deserve it, that I could just starve and stuff like that," Ms Allen added. The family say the incident only came to light on Wednesday when her grandmother noticed her hair was suddenly different lengths. "It's very painful," Cynthia Allen told a local CBS affiliate. "I want to see them dismissed from the school. I want to see something done." In a statement, the school said they had asked local police to investigate the incident. "We take seriously the emotional and physical well-being of all our students, and have a zero-tolerance policy for any kind of bullying or abuse," Immanuel Christian School said in a statement. "We are deeply disturbed by the allegations being made, and are in communication with the family of the alleged victim to gather information and provide whatever support we can." The school, which costs Ms Allen's family almost $12,000 (£9,800) a year, is where Karen Pence - the wife of Vice-President Mike Pence - teaches art part-time. She resumed working at the school earlier this year, amid scrutiny over its anti-LGBT requirements of staff.

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Its hunting grounds feel expansive, each a separate ecosystem that would tick along nicely by itself without your involvement. It presents a near-overwhelming world of possibilities for customisation and specialisation. Most importantly, it’s somewhere in which you could end up spending so much time you might as well be living there. Monster Hunter has always been a series that offers much and more. Its games are, broadly speaking, action-RPGs built around a single gameplay loop. Like in many modern crafting games you begin with nothing but a flimsy weapon and the chainmail on your back, but as you take on monster-hunting quests you harvest materials from your prey and the environments they live in, use them to build stronger gear, and then use them to take on stronger monsters to get even more gear. The beauty is in how many ways it offers for you complete that loop. Each of 14 weapon types makes combat feel like an entirely different game, from the grace and familiarity of a sword and shield, to the explosive pummel of an ammo-switching Bowgun, to the downright oddity of the Hunting Horn, a massive hammer that plays stat-buffing tunes. Monsters themselves come with a wealth of strengths and weaknesses and many, many materials to harvest, all of which can be used to create tens of possible items. You also have an adorable cat companion called a Palico which can be outfitted with its own gear, all offering different bonuses for your character. And when it all seems like you’ve got it sussed, along comes High-Rank, Monster Hunter’s “post-game” content, which changes some monsters, adds new ones, and essentially doubles the amount of gear to lust after. The deeper you look, the deeper it all seems to get - and that sheer level of complexity has historically been what stops Monster Hunter from offering mainstream appeal. But let’s get something out of the way: there’s been an assumption among the waiting audience over the past few months that - despite the protestations of Capcom itself - World would simplify the series’ more obscure ideas to help court a western audience. After just the first few hours, it becomes abundantly clear those concerns are unfounded. Monster Hunter has always been opaque, its menus pebble-dashed with byzantine statistics, and its combat purposefully designed to be methodical and challenging in a way that feels strange next to modern action games’ fluidity. Practically none of that has changed. This remains a game where learning is as important as doing, from potion recipes to intricate combos. World is decidedly not a my-first-Monster-Hunter experience. “ What’s changed in some ways is how they’re presented. Quality-of-life improvements have smoothed off a few rough edges, making crafting simpler, armour skills more abundant, and introducing quicker, more efficient looting. But many difficult-to-grasp aspects still remain (it’s still crazy to me that weapon tutorials are still so meagre), and few have been made with the first-time player in mind. Playing in a party alongside new hunters, I’ve been bombarded with questions ranging from the simple (“Where can I change my weapon again?”) to the slightly more specific (“Why does my glaive come with a huge insect buddy, and what does the dust it leaves behind after sucking the juices out of a lizard do?”). The bottom line is that World is decidedly not a my-first-Monster-Hunter experience - this is full-fat, waterfall-of-information Monster Hunter. In that respect, it’s the same as it ever was. Those coming in looking for an all-encompassing adventure story will find World a little lacking, too. The central plotline - of travelling to a new continent in the wake of a migrating Elder Dragon - is a neat one, and pleasantly naturalist in tone (well, as naturalist as you can be in a game about killing mythical creatures to make shoes), but it’s nothing more than a pretext for the near-endless hunts ahead. But as far as opportunities for new experiences go, World just never seems to stop providing them – and I love that feeling. 50 hours in, it’s still regularly throwing crafting possibilities, monsters, even entirely new systems at me and expecting me to put time into learning how they can benefit my character. One of the most consistently exciting, satisfying, and gratifyingly absurd games I’ve played. “ But no matter how much I or any other fan tries to convince you, there’s a chance that a game that requires this much management alongside its maiming simply won’t be for you. I urge you to at least try. Find an experienced friend to guide you or sit down for a few video tutorials, because Monster Hunter: World is one of the most consistently exciting, satisfying, and gratifyingly absurd games I’ve played since, well, the last Monster Hunter game. A disclaimer: though I’ve completed the story quest, I’m absolutely nowhere near “finished.” Side quests are clogging up my menus, I haven’t touched the majority of the weapons, and even the end of the campaign opens up a second, much more difficult half. This isn’t an admission of guilt, it’s a demonstration of what kind of game we’re dealing with. Above and beyond anything else you can say about World, there is a lot of it. It’s still stupendously generous with content and, better, matches that with consistently making your time feel well-spent instead of wasting it on empty-feeling grinding. Every IGN Monster Hunter Review World’s mechanical changes are near-universally designed to make that loop even tighter. “ Capcom’s series has worked toward perfecting its rewarding gameplay loop since the mid-2000s: World’s mechanical changes are near-universally designed to make that loop even tighter. Weapon upgrade trees feel more labyrinthine, forcing you through a wider gamut of quests to get to what you want. Take how I earned my Rathian Charge Blade, a frankly ludicrous combination of sword and shield that transforms into a poison-dripping axe: I had to scavenge monster bones to build the base model, carve up several Jyuratodos (giant, furious walking fish) for a mid-tier upgrade, and then slice the tails off of several flying Wyverns to harvest their poisonous barbs for the final version. It’s not just fun - every weapon you make becomes a document of the quests you went on to make it, like a map of memories In the process, you’ll amass leftover rewards and carved-off materials that can be used to make armour sets, with each piece now offering extra skills that can turn the tables on a previously tough fight. The Jyuratodos materials I didn’t need for my blade soon became muck-resistant mail, letting me take on the mud-spewing Barroth without much fuss. The Barroth’s materials, in turn, allowed me to make lightning-resistant armor for my next campaign quest - and so the cycle begins again. The entire game is precise, clockwork engineering, sending you ticking from one task to the next, crafting better and better equipment, gradually building a toolbox of murder weapons tailor-made for World's increasingly dangerous enemies. Perhaps the most fundamental change is in how you find the monsters in the first place. In previous games, tracking big game was a matter of wandering between zones, hoping to spot your prey and chuck a paintball at it to illuminate it on your map. The new bioluminescent Scoutflies are an excellent replacement for that sometimes-tedious task, at once more useful and more grounded in the fiction. At first, your flitting, neon swarm leads you to trackable markings left by monsters in real time - footprints, scratches, globs of mucus - and, once you’ve gathered enough evidence they’ll catch the scent of the target monster itself, leading you straight to it with a marker on your map. Tracking a monster essentially unlocks its wiki page. “ It’s satisfying and, in another beautiful piece of mechanical thinking, remains consistently useful even after you’ve tracked a beast. The more you track a specific monster - even if you’re not specifically hunting for it - the more you’ll be told about it. Meet a monster for the first time and your Hunter’s Notes will give you a vague description of it; after that, you learn what parts of the monster can be broken off for extra rewards, then its overall weaknesses, then how likely those rewards are to drop. You’re essentially unlocking a Wiki page (and thereby reducing the traditional Monster Hunter need to go look at actual Wikis as you play). That’s somehow far more exciting than it should be, and it’s a system that makes World’s looping grind even more rewarding. The opening areas - Ancient Forest and Wildspire Waste - turn familiar woodland and desert locations into intricate webs of overlapping biomes, each filled with creatures large and small going about their business. But it’s once you reach the Coral Highlands that it becomes clear how beneficial this shift in hardware has been. It’s a fantastical barrier reef grown on land, replete with seahorse-like hummingbirds, floating jellyfish, and a giant bat with an inflatable neck, and my hunter’s been seriously injured several times because I got distracted by how pretty it all is. The screen is absolutely saturated with detail - landmass, particle effects and creatures all interacting - ending up feeling pleasingly overstuffed, as if the frustration of working with handhelds has led to a flood of ideas that couldn’t have been possible previously. Without the restraints of realism, Capcom has made one of the most stunning locations I’ve come across - not just in the Monster Hunter series but in gaming as a whole. It’s clear how the experience of making the older games’ bite-sized zones has fed into the art and level design teams’ new work - there’s a gorgeous vista or change of scenery around every corner Their work stretches everywhere. There’s real joy in seeing weapons I’d played with on 3DS turned into 4K beauties - the absurd Metal Bagpipes hunting horn I’ve tooted so often has been turned from a jut of jagged pixels into the offensive instrument it should be, its rivets shining in the sun, it’s puffbag (not the technical term, probably) showing signs of wear. The New World setting - our hunters have travelled across the sea tracking a giant Elder Dragon’s migration - also allows for a glut of new monsters and often-insane armour that can be made out of them. Freakish, skinless mega-dogs, tar-covered wyverns that make armour out of other monsters’ bones, and a chameleon-bird that pukes poison - there’s a lot to be discovered. Plus, the sunsets in each area’s day-night cycle are ridiculously beautiful. Every Large Monster in Monster Hunter World It’s not World’s looks that benefit most from the technical upgrade, but the AI. “ Somewhat incredibly, then, it’s not World’s looks that benefit most from the technical upgrade, but the AI. Monster Hunter’s stars have always been the monsters themselves, thanks to their gorgeous knots of fantasy illustration, breathtaking animation, and inspired game design. Battling them is closer to a dance than a brawl, knowing your moves - from the Hammer’s slow, stomping strikes to the Insect Glaive’s aerial acrobatics - and learning their steps in return. You’ll be clumsy when you begin, watching helplessly as a graceful Legiana freezes you and buffets you off a cliff, but fight more and you’ll soon be severing tails, breaking off scaly armour for valuable rewards, before watching your prey limp away, indicating you’re close to the kill. Every battle mixes the in-depth learning of a fighting game with the grandeur of a classic adventure game boss fight - it’s Monster Hunter’s stock-in- But World adds a new variable: personality. With multiple monsters now sharing the same seamless space, Capcom’s had to find ways to make them interact with both you and each other. You’ll quickly begin to learn which monsters are territorial, and which aren’t; the relatively weak Great Jagras might just roar at you to suggest you leave its cave home as you creep past, but try the same trick with fire-breathing, T-Rex-like Anjanath and you won’t get the same polite treatment. Every area has a clear food chain in which monsters (mostly) know their place. “ Every area has a clear food chain in which monsters (mostly) know their place. But that can be disrupted - watch what happens if an egg-eating Kulu-Ya-Ku steals from the nest of a mother Rathian. It’s not pretty. Even more interesting is when those food chains are messed with. Just as you’ve got a handle on every area’s intricacies, World begins putting monsters in unfamiliar locations, leading to new match-ups and territory disputes. Honestly, the direct benefit of knowing how monsters interact is limited - at most, they’ll kick off a ‘Turf War’ canned animation, doing some of the damage in a hunt for you - but the effect of it is something else entirely. I’ve spent half-hour Expedition missions just watching these animals move around, learning where they prefer to hunt or nest, watching their fight-or-flight reflexes kick in, simply because I enjoyed getting to know them. But for a real hunt, multiplayer is the way forward. Monster Hunter has always been best played in a group, upping the challenge to allow for titanic battles while players swap tips and secrets. World makes a much-needed change, combining the series’ traditionally separate single and multiplayer campaigns into a single string of quests. It’s a step in the right direction, but also creates its strangest problem: to play a story quest, all players must have watched any cutscenes it include (and their absurdly poor lip-syncing) first. You can’t easily drop into a friend’s server. “ This doesn’t just mean that a single party can’t play the campaign from start to finish together, but even stops friends dropping into a match together until everyone’s seen the same canned video. Coupled with small party-joining issues (for instance, you can’t easily drop into a friend’s server without an invite, a Nintendo Friend Code-like string of digits, or using the console’s home menu) and multiplayer is where we see the worst remaining hallmarks of old Monster Hunter. That said, once in a hunt I’ve spotted no major network issues, and the seamless areas and Scoutflies only make hunting as a party more exciting. There’s too much else to talk about. Capturing tiny creatures to keep as pets in your house (which has become an all-consuming hobby for me), the resource-gathering Palico Safari, the ‘special arena’ area littered with overpowered siege weaponry - World once again lives up to its name by feeling practically boundless. I know I have many, many hours more to play from here, and I feel nothing but pleasure at the prospect. Debate will likely rage between Monster Hunter purists as to whether this is the best game in the series. As with any hardcore audience, attempts to streamline - particularly in how individual armour skills now disincentivise building full sets over hours of grinding - may be looked at with derision. A lack of ultra-tough G-Rank challenges might also leave some wishing for even more. Like sports games, the definitive verdict will likely be impossible until we’re hundreds, rather than tens of hours in. Verdict Whether or not it's the best, this is certainly the most audacious Monster Hunter game. World takes a dramatic leap into a look, feel, and size that feels truly new, simultaneously staying true to the series’ ideals by maintaining the addictive loop of combat, intimidating monsters and meaningful upgrades that fans love. The sheer depth and commitment required is still intense, but it clearly isn’t Capcom’s aim to court a casual crowd. This is as all-consuming and incredible a ride as ever.

this title is exclusive to PC and was reviewed as such. Since the conception of video games, there comes a time when a title or franchise breaks into the market to define or po[CENSORED]rize a genre. And when it comes to RTS city builders, many a veteran would point out that The Settlers is such a franchise. Released back in 1993 (when I was born!), the first Settlers game was released and quickly took the strategy scene by surprise and fast established a household name in the industry. With the announcement of a new title coming this year, Blue Byte and Ubisoft celebrate their two and a half decade old franchise with a History Collection edition by bringing the old classics among modern successors to Windows 10; to bring back old timers or simply attract new fans to the fold. Also most noticeably, a functional multiplayer system has been added, which will please many of you. The Settlers is an RTS (real time strategy) city builder game that revolves around building a solid infrastructure for your subjects, expanding your borders, and conquering your adversary. Naturally, as any franchise, The Settlers games evolved and adapted to the market or simply the developer’s vision across the years. In doing so, the franchise has all but drifted into a different direction while retaining the same base concept, and whether this decision was for better or worse, it would be up to the players- you, to decide. First however, allow me to present you the three phases that encapsulate the essence of the changes. The road system: The Settlers 1&2: This is where it all began. Start with a small house, pave the roads, and construct your city one building at a time. While the concept is simple, there is a certain charm in relaxing to a simple tune as you plan out your city depending on the resources and landscape around you. Buildings have to be built on certain land tiles that can serve it’s function and size. The thing about the first Settlers is that you had to pave roads around the landscape in a way that would connect each new building to your home base, otherwise it would not operate. So to build your road over a hill or around, made for as critical choice as your settlers and workers depended on roads to reach their destination. Combat was minimal and simply a backdrop for the intricate city building, but was still there to make things interesting. The conquest: The Settlers 3&4: While this is up for debate, many veterans of the series would undoubtedly claim these two titles to be the peak of the franchise. The graphical improvement was noticeably a jump, but the gameplay also certainly took a big leap. In these installments, the settlers no longer relied on roads, instead the roads simply appeared over the map according to your subjects activity. Buildings also received a new tile system that was more lenient in where you place them, and instead compensated by showing dots over the map from greed to hot red, signaling how long it would take to build on said tile. First step, settlers would try to level the tile to a make it suitable for building, then came the builders who proceeded to actually build that seventeenth watch tower you wanted to cram around your town. The gameplay was also overhauled to become one of the deepest and most complex that for years to come, many would try to recreate; most notably the Stronghold franchise -which play VERY similar to these two. Build farms, barracks, mines, houses, and castles as you work your way from having a small town to a sprawling city. Most buildings need another one or two to work properly, and so establishing a good infrastructure early on will make all the difference as you reach the mid/late game. This where your boarders meet that of your enemy and where the fun begins and what made these two games stand out; Combat!! With a robust military system that can maintain a decent number of units, battles are always fun to watch while you listen to the comical scream and shouts of sim-like soldiers. So with a huge expansion on the building system, deep management economy, and a heavy focus on combat, it’s easy to see why many consider these two to be the peak of the series as well as proof of how games should evolve with each new installment. The Heroes: The Settlers 5, 6&7: Following on the success of the franchise so far, many were left puzzled after the decision that saw the games take an unfamiliar direction that slowly but surely broke them away from their roots. While the graphics again had a huge upgrade, as they should be for being part of the modern era of gaming, the gameplay, economy, and military systems have all been watered down to be forgiving and simple. The focus was more on the Heroes that lead your Settlers, something akin to a more Might and Magic progression system with the Hero having a storyline, cutscene and sort of an adventure to go through with each scenario. Roads became stationary and a means in which your settlers and soldiers traveled. Speaking of armies, well, more like platoons of a dozen or so soldiers that you had to select and point and click on an enemy base structure. If your “army” would cross paths with apposing forces, they would line up in front of each other and fight until one side was defeated, and this is where it came down to less strategy and more “who has more units”. Granted, this change suited many a player as it was a much simpler approach to an established series with modern graphics and modern gameplay mechanics. The game for better or worse became less straining and had more fun elements such as your settlers being caricatures making silly noises and running in a comical way. Which in turn made the game less serious and more relaxing, for lack of better word. It’s important to mention that I had some serious lag issues with Settlers 6 and 7, especially during cutscenes where it dropped to 25 fps for no apparent reason. Other stuttering and crashes were experienced but at a tolerable rate. The tutorial and UI are a nightmare to navigate with the screen being bloated with as many boxes as if I logged into an oldschool MMORPG that blast you with 10 exclusive store deals and 6 guild requests. So whether you’re a new fan or an old veteran, this collection is worth having, especially with a decent 50% sales as of writing this review (16th January 2019), at the price of19,99€ (~34 NZD or 23 USD). If the sales time runs out or simply the whole bundle doesn’t interest you, you can buy games separately to get what you want for your taste. Personally, I enjoyed the forth game the most as it offered everything the third had to offer and then some especially with the ironing out of the UI for a better gaming experience.

Audi is building up to the unveiling of one of its biggest sellers, the 2020 A3, and prototypes have now dropped almost all of their disguise. New spy shots of the car testing show the Ingolstadt brand is following the lead of the platform-sharing Mk8 Volkswagen Golf, which hit the headlines by shedding its camouflage wrap earlier this year. We can see that the new A3 features an evolutionary look, borrowing the geometric front-end shape from Audi's latest models, and doesn't adopt the smaller A1's bonnet vents. Yet there's one distinctive design detail we weren't expecting: chrome strips running the length of the bodywork on each side from the headlights to the tail-lights, wrapping around the tailgate. It's not clear yet if this will make production or if Audi is just experimenting ahead of the finished design. But if it does appear when the car is unveiled, as expected, at next March's Geneva motor show, it will mark a distinct departure from the rest of the firm's range. OUR VERDICT Audi A3 Audi A3 hero front Third-gen Audi A3 gets a mild facelift, more equipment, some new engines and a new hot model - but is it the cream of the premium hatch crop? Find an Autocar car review Driven this week BMW 8 Series Gran Coupe 2019 first drive review - hero front 25 SEPTEMBER 2019 FIRST DRIVE BMW 8 Series Gran Coupe 840i sDrive 2019 review BMW's Four-door grand tourer offers a strong range of abilities and... 24 SEPTEMBER 2019 FIRST DRIVE Porsche Taycan Turbo S 2020 review Range-topping version of Porsche’s first all-electric car shows the rest of... Audi RS7 Sportback 24 SEPTEMBER 2019 FIRST DRIVE Audi RS7 Sportback 2019 review Audi’s first new-generation V8-powered RS model is rapid yet reserved and... Article continues below advertisement Exterior design boss Andreas Mindt has already promised 'big-time' exterior design changes for Audi's Mercedes-Benz A-Class rival when talking to Autocar earlier this year. On the new car, which will be built on the second-generation Volkswagen Group MQB architecture first entering production in the Golf, Mindt said that the company “had some really good ideas” for its new staple hatchback, promising “it’ll change, big time”. The new A3 is one of two new compact Audis in development, the other being an electric car built on the new MEB architecture. As before, the A3 will spawn a whole range of variants, including a new five-door liftback version to rival the likes of the Mercedes-Benz CLA and upcoming BMW 2 Series Gran Coupé. A disguised S3 hot hatch prototype has also been spotted testing. Mindt believes that compact cars have a big future still, despite the rise of SUVs. “I can see growth of compact cars and a future, absolutely,” he said. “We have really good ideas for that segment and to push it.” The five-door hatchback will be the first new A3 to arrive next year, replacing the model that was introduced at the 2012 Geneva motor show. The final variant will be the five-door liftback, which isn’t expected until 2021 – the third year of the fourth-generation A3’s lifespan. The regular hatchback will be longer and wider than the current model, with the same track width but wider wheel arches and carriers. Facing fresh competition from the new Mercedes-Benz A-Class Saloon, the next A3 Saloon will be introduced in 2020. The new A3's engine range will include 1.0-litre, 1.5-litre and 2.0-litre turbocharged petrol units, as well a 2.0-litre TDI diesel unit in three different states of tune. A plug-in hybrid model will also come, using the same driveline as the new Volkswagen Passat GTE. There won't be an electric version, though, because Audi is developing a dedicated electric hatchback model for release in 2021. Until then, the forthcoming Q4 e-tron SUV will be the brand's smallest EV. The A3 Cabriolet, a small-seller within the Audi range, is the least certain for replacement, given the state of the convertible market and the discontinuation of C-segment Volkswagen Group products following the axing of the Beetle.

The Brexit debate has descended into a "bear pit of polarisation", the husband of the murdered MP Jo Cox has said. Brendan Cox also said Boris Johnson was "sloppy" in saying the best way to honour the late MP was to get "Brexit done", but he was not "an evil man". The PM had angered many MPs by using words such as "surrender" but Tory Chairman James Cleverly said the accusations were "deeply unfair". Speaker John Bercow said the culture in the Commons had been "toxic". He said passions were inflamed on both sides, the atmosphere had been "worse than any I've known" and urged MPs to "disagree agreeably". A Downing Street spokesman has said that, whatever their views, politicians and those in public life "shouldn't face threats or intimidation... it's completely unacceptable". LIVE: MPs return to Commons after rowdy scenes Kuenssberg: Parliament now a place of fear and loathing In the House of Commons, Labour MP Jess Phillips is asking an urgent question on the prime minister's language and his role in creating a safe environment in the country and in Parliament. Meanwhile, the prime minister was greeted by cheers when he addressed Conservative MPs at a meeting of the backbench 1922 Committee. BBC political correspondent Chris Mason says Downing Street is not planning to shift away from using the term "surrender bill" in reference to the parliamentary act that seeks to block a no-deal Brexit. Meanwhile, the longest-serving male and female MPs, Ken Clarke and Harriet Harman, have called for an inquiry, chaired by Mr Bercow, to discuss "protecting our democracy by guaranteeing the ability of MPs to go about their work without threat, harassment, violence or intimidation". 'Great national controversy' Wednesday's highly charged Commons debate came a day after the Supreme Court ruled Mr Johnson's suspension of Parliament unlawful. He was forced to cut short his visit to a UN summit in New York to return to the Commons following the decision. The prime minister told MPs the court had been "wrong to pronounce on a political question at a time of great national controversy". He also challenged opposition parties to table a vote of no confidence or back a general election and face a "day of reckoning" with voters. The court was wrong, Johnson tells MPs Angry Commons exchanges over Parliament suspension MPs will later discuss whether to approve a three-day break for the Commons next week while the Conservatives stage their annual party conference. BBC political correspondent Nick Eardley said opposition parties would also be meeting to discuss their tactics for next week. 'Inflammatory language' During an ill-tempered debate on Wednesday, the prime minister was repeatedly challenged by opposition MPs over his use of the word "surrender" to describe legislation passed earlier this month which aims to block a no-deal Brexit on 31 October if he failed to come up with a new exit deal before 19 October Labour MP Paula Sherriff referred to Ms Cox - who was killed by a right-wing extremist days before the EU referendum in 2016 - saying MPs faced death threats from people using similar language. Pointing to a plaque in the chamber commemorating Ms Cox, Ms Sherriff said: "We should not resort to using offensive, dangerous or inflammatory language for legislation that we do not like, and we stand here under the shield of our departed friend with many of us in this place subject to death threats and abuse every single day. "They often quote his words 'Surrender Act', 'betrayal', 'traitor' and I for one am sick of it. "We must moderate our language, and it has to come from the prime minister first." In response, Mr Johnson said: "I have to say, Mr Speaker, I've never heard such humbug in all my life." Labour's Tracy Brabin, who was elected as MP for Batley and Spen after Ms Cox's murder, also urged the prime minister to moderate his language "so that we will all feel secure when we're going about our jobs". Mr Johnson replied that the best way to honour the memory of Ms Cox - who campaigned for Remain - and bring the country together was "to get Brexit done". Mr Cox later tweeted he felt "sick at Jo's name being used in this way". Speaking to Radio 4's Today programme, Mr Cox said "bad behaviour" was not limited to one side of the debate and said words such as "coup" and fascism" are also "inflammatory". "This is something which has infected our politics and it's this vicious cycle where language gets more extreme, responses get more extreme, it all gets hyped up," he said. "And the reason that it matters is because it has real world consequences." Asked about the use of words such as "coup", shadow home secretary Diane Abbott told Today that politicians "have been rude about each other since the days of Disraeli and Gladstone" referring to two Victorian prime ministers. "We all have to consider our language," she said, but argued that Labour leader Jeremy Corbyn has never used violent language. Conservative Party Chairman Mr Cleverly said the debate over Brexit in the House of Commons had generated "a huge amount of temper on both sides of the Commons". "The best thing we can do to calm things down is to get it delivered, get it resolved," he added. He also said the accusations levelled at the prime minister were "deeply unfair" adding that he had never described people as "traitors". "I'm not sure that we can look the nation in the eye and say that was a good day." That's how a Conservative MP has described the torrid scenes in the Commons in the last 24 hours. Outrage is a common currency these days, but MPs' jaws dropped as Mr Johnson ramped up the rhetoric in responses to questions - suggesting first that it was "humbug" for a Labour MP to demand he temper his language, to try to protect MPs' safety. Then, he went on to say that the appropriate legacy for the MP who was murdered during the referendum, Jo Cox, was for MPs to complete the Brexit process. No surprise that Labour MPs howled in protest, some left the Commons in disbelief. And there may be few Tory MPs willing, as the day goes on, to defend how far he went. Read Laura's blog in full. Labour leader Jeremy Corbyn said the PM's language "was indistinguishable from the far right", while his Liberal Democrat counterpart Jo Swinson said Mr Johnson's comments were "a disgrace". She also told MPs that earlier on Wednesday she had reported a threat against her child to the police. There was criticism from current and former colleagues for Mr Johnson too. Former cabinet minister Amber Rudd - who quit the government and the Conservative Party over Mr Johnson's approach to Brexit - told ITV's Peston programme the prime minister's comments were "dishonest and dangerous". And the Conservative former cabinet minister Stephen Crabb told BBC Newsnight that he was "shocked by the way [the PM] responded to the remarks about Jo Cox". Culture Secretary Nicky Morgan tweeted that Mr Johnson was "aware and sympathetic" to the threats MPs have received. "But at a time of strong feelings we all need to remind ourselves of the effect of everything we say on those watching us," she said.

Last week, AMD announced that they would be pushing back the launch of their flagship 3rd Gen Ryzen processor, the Ryzen 9 3950X, to November. Several insiders reported that the delay might be due to TSMC’s 7nm capacity as there was increased demand for 7nm but Digitimes report that production and supply issues aren’t the main culprit. AMD Ryzen 9 3950X Delayed Due To Unsatisfactory Clocks, Design Adjustments To Be Made For The Flagship 16 Core Mainstream CPU According to Digitimes, it is now being reported that the main reason to which AMD delayed the Ryzen 9 3950X is due to unsatisfactory clock speeds. The 3rd Gen Ryzen processors offer stellar performance no doubt but soon after launch, it was revealed that the processors were unable to hit their boost frequencies as AMD had advertised. This led AMD to release a BIOS fix which some what fixed the issue and delivered better overall performance than what we got initially, however, there’s still room for improvement and I am sure AMD is definitely working to issue future updates for their newly released Ryzen 3rd Gen processors. While the current stack of 3rd Gen Ryzen processors have been issued a BIOS fix, the flagship has still not yet released. AMD is definitely sampling the chip to motherboard manufacturers but looks like they aren’t painting a good picture for AMD. It might be due to the fact that most motherboard makers are not getting sustained clock speeds on their products when testing them with the Ryzen 9 3950X and some insiders have got a word on this. Following is the statement from the source: Last week’s news about TSMC extending 7nm chip production lead time because of strong demand provoked knee-jerk speculation that it was the cause of AMD delaying the launch of its Ryzen 9 3950X. It has turned out that unsatisfactory clock speed – rather than foundry support – has prompted AMD to adjust the design of 16-core processor, according to sources from the motherboard suppy chain. What’s interesting here is that DigiTimes says that these early results might prompt AMD to make design changes. We can’t say for sure what changes would be made if it would be better dies than what consumers are currently getting on 3rd Gen Ryzen processors are a change in clock speeds. In terms of specifications, the AMD Ryzen 9 3950X would feature the 7nm Zen 2 core architecture. There would be three Chiplets on the Ryzen 9 interposer which include two Zen 2 dies and a single I/O die which is based on a 14nm process node. The AMD Ryzen 9 3950X would be fully enabled, offering 16 cores and 32 threads. The core configuration has never been available on mainstream platforms such as AM4, even the 12 core, 24 thread Ryzen 9 3900X configuration hasn’t been seen on mainstream platforms and AMD is the first to bring such high core counts that used to be HEDT exclusive, down to mainstream users. In terms of clock speeds, the AMD Ryzen 9 3950X runs at a base frequency of 3.5 GHz and boosts to a blistering fast 4.7 GHz which is the highest for AMD’s Ryzen 3000 series processor. The chip will feature 72 MB of total cache and just like the other Ryzen 9 parts, feature a TDP of 105W. The TDP is based on the base frequency numbers so it would actually be higher when the chip boosts or is manually overclocked by users. When it comes to overclocking, we also know that like all other Ryzen CPUs, the Ryzen 9 3950X would feature a soldered design which should help deliver better thermals than TIM. AMD Ryzen 3000 Series CPU Lineup CPU Name Ryzen 5 3500 Ryzen 5 3500X Ryzen 5 3600 Ryzen 5 3600X Ryzen 7 3700 Ryzen 7 3700X Ryzen 7 3800X Ryzen 9 3900 Ryzen 9 3900X Ryzen 9 3950X Cores/Threads 6/6 6/6 6/12 6/12 8/16 8/16 8/16 12/24 12/24 16/32 Base Clock 3.6 GHz 3.6 GHz 3.6 GHz 3.8 GHz TBD 3.6 GHz 3.9 GHz 4.1 GHz 3.8 GHz 3.5 GHz Boost Clock 4.1 GHz 4.1 GHz 4.2 GHz 4.4 GHz TBD 4.4 GHz 4.5 GHz 4.3 GHz 4.6 GHz 4.7 GHz Cache (L2+L3) 16 MB 32 MB 35 MB 35 MB 36 MB 36 MB 36 MB 70 MB 70 MB 72 MB PCIe Lanes (Gen 4 CPU+PCH) 40 40 40 40 40 40 40 40 40 40 TDP 65W 65W 65W 95W 65W 65W 105W 65W 105W 105W Price $129 US? $149 US? $199 US $249 US $279 US? $329 US $399 US $449 US? $499 US $749 US Now it remains to be seen if AMD would indeed adjust the clock speeds or ship them at what they had initially advertised as listed above. I think it was a good step on AMD’s part to delay the chip rather than release a flagship product riddled with performance/clock issues. Let us know if you’re waiting to buy the Ryzen 9 3950X CPU after these reports.

> Opponent's nickname: @Flenn. > Theme (must be an image): > Work Type: Avatar > Size & Texts: 150 x250 RV / REVOX > How many votes?: 20 > Work time: 24 Hrs P.S : Accept it ?