HiTLeR

Game Information Software developer: Ubisoft Quebec Publisher: Ubisoft Standard Edition: Nintendo Switch, PlayStation 4, and more Type: platform game, adventure video game, fighting game One gaming curiosity that always fascinated me was games that were identical, yet had new art thrown on top of something else. Think how a video game based on the Magical Hat anime became Decap Attack. Same controls and gameplay, but different level design and graphics. It’s usually done when there are licensing issues, but not always (think Super Mario Bros. 2). I had some high hopes for the second Immortals Fenyx Rising DLC, Myths of the Eastern Realm, but there’s practically nothing new here to see. This is a fairly blatant revisit of a game you’ve already played, but worse. Myths of the Eastern Realm trades out previous hero Fenyx with a character named Ku. Unlike before, you have no control over Ku’s sex or appearance. Beginning much like Immortals Fenyx Rising itself, Ku awakens to realize that a nearby mountain is possessed by some wicked energy and that everyone around him has been turned to stone. Initially, the only being Ku can find is Nuwa, the mother god in Chinese mythology. If you’re not familiar with her, she is the creator of humanity. She works with Ku to find a way to repair a cracked mountain to make the realm of Heaven safe again. Unlike the base game, which had a varied, colorful cast of characters and a ton of jokes, Myths of the Eastern Realm is dull and boring. Ku is brainless, arrogant, and devoid of interesting character traits. The narrative has next to no stakes and hardly anything of note happens. Nuwa is similarly bland. Instead of filling the gaps with interesting character moments, there are a lot of mom jokes. As in, she’s the mother goddess and considers Ku a child, so she acts like a stereotypical mom. Then there’s Gong Gong, a warrior with practically no personality. There’s not anything to like here. Everything I enjoyed about the base game’s story is almost completely absent. Do it again Structurally, it’s only partially accurate to say that Myths of the Eastern Realm is similar to the base game. It’s the base game again, only shorter. There are two areas: one that looks like the greener areas of the Golden Isles, and another that looks like War’s Den. Both Nuwa and Gong Gong have short questlines containing a few missions. These are roughly equivalent to the missions you did to free the Greek gods. The basic gist is that you’ll do those two quest lines and then, once more, climb a snowy mountain to fight a final boss. There’s no dungeon this time either. You just walk up to an entrance and then fight the boss immediately after. Once again, Myths of the Eastern Realm allows players to explore areas to find challenges, collectibles, and activities. It’s exactly like it was in Immortals Fenyx Rising proper. It’s not hyperbolic to say that I felt like I was just playing a tiny version of that game. Ku has all the same abilities as Fenyx, only they’re named after Chinese gods instead of Greek ones. He starts with all of his skills unlocked and gets the same godly powers, except two of these are improved via collecting jade coins instead of Charon coins from challenges. The entire bestiary returns, too. Only, they’ve been mildly reskinned to look like they’ve come from Chinese mythology instead of Greek mythology. It’s weird as hell to fight gorgons with slightly different faces while the game pretends they’re not just gorgons. Most things look the same as the base game, save for the fact that the architecture is different. Ku can also find new gear in chests that function just like Fenyx’s, although there’s not much of it. It doesn’t take long at all to start finding reskins of the same gear. The collectibles also get reskins. Instead of ambrosia to grant more health, you’ve got Xi Rang. You don’t get Zeus’ lightning from trials, you get this red stuff. But it functions identically and you’ll need less of it to improve Ku’s health and stamina. Tiny changes What is different about Myths of the Eastern Realm, then? Well, Ku fights with a different sword, so his default light attack combo feels noticeably distinct. But combat is identical otherwise, down to the ax, bow, and fire bird. One of the largest differences is that most challenges are newish. Some, such as the orb challenges, are functionally identical. Mosaic challenges return, but are even more simple than they were last time, as Ku just hits a picture a few times to correctly arrange it. There are some new puzzle types, though. One has Ku ringing four bells in order — these are boring. The other has Ku change the direction of tiny windmills to redirect an air current. These are more interesting, but there’s one damning thing standing in Myths of the Eastern Realm’s way: the puzzle design is considerably worse here. I greatly enjoyed many of the puzzles in Immortals Fenyx Rising. The new ones are far less entertaining and can feel haphazardly put together. There are a few new rift challenges, but these fare similarly. They often revolve around Ku riding on clouds. I did all of these, save for one, and I found them to be tedious and frustrating. Much like the puzzles in general, I’m fond of the rifts in the base game. These are just worse. Suffice to say, I’m bitterly disappointed in every addition in Myths of the Eastern Realm. The navigation challenge that replaces the base game’s doesn’t even make sense to me. You’re supposed to chase the silhouette of a bird, but touching it instantly fails you, as does going too far ahead. I’m not sure how I’m supposed to clear those at all. There is a new final boss fight, though. It’s almost kind of neat, but its moveset is horribly limited and it’s mostly just a tanky slog. It’s not all bad, mind you. The material that’s lifted wholesale from the base game is still generally enjoyable. But it’s the exact same content we’ve already experienced, albeit with a slightly different coat of paint. As a big fan of the base game, I’m disturbed by the quality of this latest DLC made from its flesh and bones. System recruitment Processor: Intel Core i5-2400 / AMD FX-6300 Video Card: GeForce GTX 660 / AMD R9 280X VRAM: 2GB NVIDIA / 3GB AMD RAM: 8GB (Dual-channel mode) Storage: 28GB HDD OS: Windows 7 (64-bit only)

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In the compact sedan realm, the 2021 Kia Forte distinguishes itself with its roominess, safety features, and impressive standard equipment. And that’s before Kia’s outstanding 10-year/100,000-mile powertrain warranty. There’s a range of models from the basic up to the sporty GT, and there’s even a manual transmission. Every 2021 Kia Forte is front-wheel drive, and there are two engine choices. A 2.0-liter 4-cylinder engine making 147 horsepower and 132 lb-ft of torque powers every model except the GT. The GT boasts a 201-hp 1.6-liter turbocharged 4-cylinder engine. The standard transmission is a 6-speed manual, although there’s a very good continuously variable transmission available as an option. The GT comes with a 7-speed dual-clutch transmission with paddle shifters, and the 6-speed manual is available as an option for an extra $600. Inside, the 2021 Forte is comfortable and has a clean design. There’s a touch more hard plastic than we would like, although the upper trims get such things as a soft-touch dash in the LXS and simulated leather upholstery in the EX. Changes for 2021 include minor tweaks to equipment levels, including more standard equipment for the base EX trim and a few upgrades to the GT and GT Line Premium. The 2021 Kia Forte earns a 4-star NHTSA safety rating. Five Trim Levels The 2021 Kia Forte offers five trim levels that run the gamut from the base FE up to the sporty-looking GT Line, the more luxuriously appointed EX, and the performance-oriented GT. The base FE model starts at $17,890 ($900 more for the automatic transmission), and the range tops out at the GT for $23,655. Adding the 6-speed manual transmission to the GT model will tack on $600. The destination charge is $965 extra. We’re impressed with the FE’s standard safety equipment, which includes forward-collision mitigation, lane-keeping assistance, and a driver attention monitor. Also included are air-conditioning, Apple CarPlay and Android Auto integration, an 8-inch touchscreen, USB port, Bluetooth, and a 4-speaker audio system. The next up LXS adds some soft-touch plastics, but we like the GT Line. It adds blind-spot monitoring with rear cross-traffic alert, keyless entry and ignition, heated mirrors, and a better audio setup. It has an optional Premium package that adds a 320-watt Harman Kardon audio system and a 10-way power driver’s seat.

The long-running series in which readers answer other readers’ questions on subjects ranging from trivial flights of fancy to profound scientific and philosophical concepts Readers reply In the same way that the big words were created. Only quicker. dylan37 What you refer to as “small” words are what bilingual dictionary-makers sometimes, paradoxically, refer to as “long words”, because they produce the longest, most complex and difficult-to-write dictionary entries. They are what grammarians refer to as “delexicalised” words, which means they are used as grammatical tools rather than having particular concrete meanings. An example is “the”, which can only be defined by talking about its function in the sentence. Interestingly (and this goes part way to answering your question), because these grammatical words are the basic building blocks of our language (on which we “hang” the other, more meaningful words), they are more often Anglo-Saxon in origin, rather than having more recent Latin or Anglo-Norman (ie “French”) roots. mjback Such small words are not just small, they are also all grammatical words (unlike other small words such as “fly” or “net”, for instance). Grammatical words are typically created through a process called grammaticalisation, whereby a “normal” word, typically designating an idea that is a bit more concrete starts being used in new ways. The process typically involves a loss of the original, concrete meaning, a reduction of the form (which becomes shorter, less likely to be stressed, but also less variable) and an increasingly constrained use (in some cases, you just have to use that word and in others you can’t; it is more subject to rules). A good example is the verb “do”, which has become an auxiliary. When it is a normal verb, you can often replace it with “make” or “perform” and you can conjugate it in all sorts of way and it can be stressed. When it’s an auxiliary, the meaning of action has pretty much disappeared, you can’t use forms like “have done” and in some sentences you just have to use it for the sentence to be correct (in a question or with a negation, for instance). Presumably, all the words listed went through a similar process, but what original “normal” word they came from, I have no idea. elskuligr The indefinite articles “a” and “an” evolved from an Old English numeral (pronounced “aahn”) for “one, lone, single” via grammaticalisation. (Old English did not have articles, just as this grammatical category – or part of speech – is absent from the majority of Slavic languages, which instead structure information by relying on more flexible word order.) The Old English precursor of the conjunction “and” in turn meant “thereupon, next”, and derived from the Proto-Germanic root *unda (and originally from the Proto-Indo-European *en “in”). Together with other function words such as the definite article “the”, prepositions such as “of”, “in”, “to”, “for”, “with”, “on”, the complementiser “that”, pronouns, and “light” and auxiliary verbs “be”, “do” and “have”, they make up the Top 20 most frequent words of the English language – and a fair share of every text. Longer, content words are always further down the frequency lists – a characteristic shared by all natural languages. Today’s first-person singular pronoun derived from Old English “ic” (and in turn from Proto-Germanic “ek” and Proto-Indo-European *eg). In northern England, the syllable had got shortened to a single vowel by the mid-12th century, though in some areas – especially when the next word would begin with a vowel – the forms “ik” and “ich” stuck around up until the 14th century, and in some southern dialects until as late as the 18th century. “You” comes from the accusative form of the plural Old English pronoun “eow”. The widespread influence of French (and the pronoun “vous”) in England in the aftermath of the Norman conquest began to gradually push out the singular nominative “thou”, with “you” and “ye” (the latter in some dialects in northern England and Scotland) initially used to address superiors, subsequently strangers and equals, and eventually becoming the generic form of address by the late 16th century. languagescientist The abandonment of the second person singular/familiar in English (aside from some ritualistic uses such as “with this ring, I thee wed”) really saddens me. I notice it constantly since I use English, French and Dutch on a daily basis; French and Dutch both retain the equivalent. It’s such a handy concept! So handy that American English has created a new, explicitly plural second person pronoun, y’all (contraction of you all). The old plural pronoun is now a singular one, and this kludge is needed to replace the plural. It’s madness! cerealcat I think one of the most interesting aspects of this question is that these are not simple signs that relate to things, or qualities, or processes in the world. Words such as “dog”, “rain”, “run” and “yellow” refer to such features of the world; in principle you can probably teach your cat or dog signs that refer to them. But they will never learn words such as “I”, “you”, “and” or “an” – the concepts are far too difficult. In particular, they require abstract thinking, which probably no non-human animal is capable of. Just think what “an” means, by contrasting it with “the”. “We saw the elephant” means “we saw the elephant that you know or we were previously talking about”. On the other hand “We saw an elephant” means “we saw an elephant that you don’t know about or which we haven’t previously mentioned”. So it is a tool to keep track of the set of things that are being referred to. It’s complex, very complex, so non-human animals probably cannot deal with it. So … where do these words come from? They come from the increased brain size and power that distinguishes humans from (most? all?) animals. incorruptible Basic pronouns, articles, and connectives exist in virtually every natural language. They certainly existed in Proto-Indo-European, the oldest ancestor language of English that we know about, which was probably spoken about 6000 years ago in the Pontic steppe (north of the Black Sea). Proto-Indo-European had long since fractured into myriad tongues before anyone who spoke it learned to write, so everything we know about it comes from comparing its descendant languages. It is theorised, for example, that the modern English “I” comes from the Proto-Indo-European *éǵh₂. The asterisk means that this a reconstructed word, not one we have direct evidence of, and experts dispute what sound “h₂” was, since it disappeared very quickly in almost all descendants of Proto-Indo-European. But what we do know about this word is that it was the predecessor of the first-person pronoun in an enormous range of languages across Europe and Asia – from English, to Spanish, to Lithuanian, to Farsi, to Bengali. The unsatisfying answer, though, is that deeper than that, we don’t know. Six thousand years ago is barely scratching the surface of the deep history of human language usage. Before Proto-Indo-European there was something else, and before that something else, and before that something else, stretching right back to the dawn of humanity. The question of how the simplest words were first created is more or less the same question as how language itself developed, which is something that we still have very little understanding of at all. alvinrow Back in 1971 I worked in Bristol and we had a van driver who was around my age at that time, mid 20s, who astounded me by using “‘thou” for you, “casn’t” for can’t, and “thee”, which was also used as you. So sentences from him would be something like “Thou casn’t do that” or “What’s thee doin’ today”? I loved hearing him talk in this old-style English with his Bristolian accent and I responded with my Hampshire one! How those small words and other similar ones survived through him in those days always delighted and surprised me! shadsfan I tell my OAP students of English that language evolved from an “er”. When our distant ancestors had exhausted all the different pronunciations of “er”, one of them added “ah” and they developed all its possible meanings, which led to “oh”, “uh” … and later “uh-ho”. Then I explain that the first scribes of English were Latin and French monks in Great Britain, who, perpetually merry with mead, made a mess of spelling, which, centuries later, publishing companies saw it profitable to not correct (more dictionaries and grammars sold).

The World Health Organization said yesterday, Monday, that the growing gap between the number of Coronavirus vaccines that have been injected in rich and poor countries, and described inequality as a global "moral outrage", according to Sputnik. The organization specifically referred to the vaccination of young people at "very low risk" of contracting "Covid 19", saying: "Frankly, they are costing the lives of vulnerable people in low-income countries," according to "Agence France-Presse". Tedros Adhanom Ghebreyesus, Director-General of the World Health Organization, said it was "shocking" not to make so much effort to avoid a "catastrophic moral failure", so predictable, to ensure a fair distribution of vaccines worldwide. Adding that the gap "is growing every day, and becomes more stranger every day." He continued: “The unfair distribution of vaccines is not just a moral assault, but it defeats itself economically and epidemiologically. Some countries are racing to vaccinate their entire population, while others have none. Rich countries give themselves a false sense of security. ” The head of the United Nations Health Agency said: "The higher the transmission of the virus, the more strains are likely to appear, and the greater the number of those strains that appear, the more likely they will outperform vaccines." And more than 455 million doses of "Covid 19" vaccines were injected in 162 regions around the world - according to statistics by "Agence France-Presse" - about 56% of them were given in high-income countries that represent 16% of the world's population.

Developers can now build their own video-based apps using Zoom's Video SDK As being able to communicate over video can lead to greater engagement and collaboration, Zoom has announced that its Video Software Development Kit (SDK) is now available as part of the Zoom Developer Platform. By using the video conferencing firm's Video SDK, developers can now leverage its HD video, audio and interactive features to build their own video-based applications and desktop experiences without being tied to the Zoom Meetings user interface. We've built a list of the best video conferencing software available These are the best online collaboration tools on the market Also check out our roundup of the best business webcams In a blog post announcing the availability of Zoom's Video SDK, principal analyst at ZK Research, Zeus Kerravala explained how developers can capitalize on the growing popularity of video conferencing by adding video to their apps and software, saying: “Video usage is at an all-time high. The next wave of video-based experiences will be driven by embedding video directly into business and consumer applications that seamlessly improve workflows and enhance social interaction. Zoom’s Video SDKs are easy to work with, and enable nimble development of fully customizable video-based applications.” Zoom's new Video SDK is available in two plans with the Pay As You Go plan providing 10,000 minutes of video per month while the $1,000 a year plan offers 30,000 minutes of video per month. Regardless of which plan developers choose, they'll be able to create new video-based customer experiences across a wide range of different categories. In her blog post, product marketing manager at Zoom, Natalie Mullin explained that the SDK can be used to create social, gaming, retail and other experiences. For instance, developers can integrate Zoom's functionality into social media apps to offer on-the-go live streaming with interactive chat, desktop gaming apps that offer new opportunities for audience engagement or retail apps with unique shopping experiences that are tailored to customers. Zoom's Video SDK is an important component of the Zoom Developer Platform which includes APIs, SDKs, chatbots, webhooks, distribution for applications and integrations. The company's latest release also includes more detailed analytics to give developers greater insights into how their apps perform and are used on the Zoom App Marketplace. To get started using Zoom's Video SDK, developers can either pick out a plan or if they have more questions, they can select the “Contact Sales” option on the Video SDK page to get in touch with the company's ISV team for more details.

Why sell to enterprise when you can sell to cryptominers? Nvidia's A100 accelerator, which is based on the GA100 silicon, might not be hitting the sales numbers the company hoped for--or perhaps the company just thinks there's room for bigger sales in a different market. Hardware leaker kopite7kimi, who has a solid track record with Ampere leaks, broke the news that Nvidia is allegedly turning the A100 into a cryptocurrency powerhouse. Obviously, the Ampere graphics card will launch under Nvidia's Cryptocurrency Mining Processor (CMP) series that's purposely built for professional mining, so you won't have to worry about Nvidia's anti-mining hash rate tomfoolery. Although kopite7kimi didn't share performance numbers, he claimed that it'll be "a mining monster," and we don't doubt his assertion, considering the A100's impressive specifications. I_Leak_VN, another hardware leaker, is pretty confident that the A100 will debut as the CMP 220HX, with a whopping hash rate up to 210 MH/s. Since CMP is built for Ethereum, we assume that figure corresponds to the device's performance in mining Ethereum. If the number is accurate, the 220HX would deliver up to two times higher Ethereum performance than a GeForce RTX 3090, which is one of the fastest mining graphics cards on the market. The A100 PCIe ticks all the right boxes for a cryptocurrency mining part, which may explain why Nvidia is reportedly making the 220HX in its image. For starters, the accelerator features a dual-slot design and passive cooling, so miners won't have to worry about heat. More importantly, the A100 PCIe is rated for 250W, so it should also help keep electricity bills under control. Ethereum is addicted to memory bandwidth, and that's where the A100 arguably excels the most. We're uncertain just how close the 220HX will be to the A100, but even a fraction of the A100 should turn the 220HX into an Ethereum-crunching beast. The A100 PCIe is equipped with 40GB of HBM2e memory, which operates at 2.4 Gbps across a 5,120-bit memory interface. If we do the math, the maximum theoretical memory bandwidth works out to 1,555 GBps. However, it would be naive to think the 220HX would come with that much memory since Ethereum has no use for that much. Nvidia will likely chop off some of the memory to make the graphics card more attractive in regards to pricing. The retail price for the A100 in its PCIe format is well over $10,000. According to the I_Leak_VN, the 220HX could land around the $3,000 range. For comparison, a quartette of GeForce RTX 3060 with the help of some $6 HDMI dummy plugs can collectively put up a 192 MH/s on Ethereum. We know you basically have to visit fantasy to find a GeForce RTX 3060 at Nvidia's $329 MSRP, but in a perfect world, a four-way GeForce RTX 3060 setup will only set you back $1,316, and with some tinkering, could probably catch up to the 220HX's rumored Ethereum performance. But the 220HX makes a lot of sense for professional mining farms, where you can get the same performance with a single unit instead of four. The pricing for Nvidia's CMP HX offerings remains a mystery, although we've seen a CMP 30HX land overseas for $723. It'll be interesting to see if the $3,000 price tag sticks with the 220HX. Obviously, mining farms won't be buying just one, so Nvidia may also be tempted to offer a juicy discount for bulk orders. Let's not forget that between $100 to $300 million of the chipmaker's Q4 2021 revenue was thanks to sales to cryptominers, so it's obviously a very lucrative business.

Game Information Initial release date: 2021 Software developer: Mischief Publisher: Hurt Basic Basics: Microsoft Windows, Xbox One Type: indie game, adventure, adventure video game Most narrative games are “walking simulators.” It’s not uncommon to come across first-person games where you mostly sit and listen to engrossing conversations. Adios is only about 75 minutes long, and doesn’t have much to offer on traditional gameplay. But its dialogue is well written and interesting, and the high-concept plot structured around the game is fairly inspired. Even if it’s unlikely you’ll get your mind blown. Adios may have been better as a movie, but hey, it works regardless. As long as you aren’t trying to cook dinner. Adios takes place through the eyes of a character known only as The Farmer. The story is set up around that old trope of the mob disposing of dead bodies by feeding the remains to pigs. Yeah, grody, isn’t it? The game opens up with a scene where you’re doing just that! The other major character, known only as The Hitman, has stopped by in a van loaded with suspicious meat. Together, the two get to throwing the “meat” into the pigpen, alongside idle discussion. But The Farmer doesn’t want to do it anymore. He wants out. And that can only mean one thing. There lies the thread that’s central to Adios‘ rising action. The Hitman would like The Farmer to continue with their arrangement, as he’s still got plenty of years ahead of him. But The Farmer has decided it’s time to go. What follows is an uneventful, somber final day in the life of a man who no longer wishes to do wrong, as he explains everything about his existence to the man who will end it for him. The game is mostly punctuated by fully voiced dialogue brought to life with quality performances. But the two men also have their discussions during a few minigames and tasks. The heaviness of the game’s themes seems odd when contrasted with the cartoony visuals and silliness of the minigames, but there’s still plenty of emotional weight to be found here. Shovel it up Adios‘ structure is straightforward. Sometimes a scene will occur automatically, while others will require approaching a marker somewhere on the farm. The farm itself is large-ish, containing a home, several buildings, and a long pathway to a lake. At a couple of points, players are tasked with selecting the order in which some of the scenes play out, but that makes no difference. You’re occasionally given dialogue options, but many of these can’t be selected. They’re things The Farmer honestly thinks. The thing is, he just can’t bring himself to say them. It’s a painful yet effective way to honestly convey his thoughts and feelings. The different scenes in Adios often focus on specific tasks and minigames. At one point, The Farmer and The Hitman play a game of horseshoes. Other times, you see them milking goats or shoveling manure. At one point they even shoot skeet. None of the minigames are particularly noteworthy, but they help demonstrate the mundanity of The Farmer’s existence. They hammer home why he might not be so keen to keep living this way. You even get to go fishing. After catching several fish in a row, the game lampshades how redundant it all is. The oddest thing that Adios does comes in its last moments. The final task involves preparing dinner. You’re just supposed to press a timer in the kitchen, which will start the final section. Of course, that isn’t at all obvious, and I ended up attempting to actually cook a meal, as there are a pan and pot on the stove, as well as meat, carrots, potatoes, peas, and an onion to be found. I cooked the steak easily enough, only to learn that none of the other ingredients could be manipulated, which led to me throwing food around in the kitchen for several minutes. It was an unnecessarily goofy way to experience the denouement of Adios. Bad meets evil Visually, Adios gets the job done. The game has a nearly cel shaded look to it, almost comic book-esque in terms of presentation. The farm itself is nicely detailed, with the outdoor areas faring better than the indoor ones. The best-looking spot is undoubtedly the lake and the connecting road leading back to the farm. For an indie game, the reflections on the water are fairly convincing and serene, which adds a lot to the peaceful quality of the fishing sequence. Seeing the fall colors on the trees overhead makes for a relaxing stroll as you steer a man towards his fate. Character models are understandably the roughest aspect. The animals appear somewhat strange, with the horse looking particularly unnatural. Thankfully, the goats and pigs are better. But humans are the hardest. Adios only has two human character models — The Hitman and his associate Sol, who we only see during a single scene where The Farmer relays interesting information on American chestnut trees. But the character models aren’t all that expressive, coming across as doll-like and a bit surreal. When that’s presented alongside the believable conversations and heaviness of the game’s themes, it can break the immersion a bit, as can the sparklingly sterile interior of the Farmer’s house. The guy’s a pig farmer, but his house looks like the inside of a Pier One. Regardless, Adios is successful at using the medium to tell its story, which I found to be emotionally resonant and effectively arranged. At just 75 minutes, it doesn’t have much to bring anyone back, but it’s long enough to convey everything it needs to. It’ll take a bit longer to thoroughly explore the farm and get all of the achievements, if that’s of any interest. Hoping against hope that we can make up for our mistakes and the consequences for making them in the first place are necessary components of the human condition. Much like this game’s brisk runtime, sometimes it’s better to know when to go out. Some slightly different choices in the art direction would have been in the game’s favor and the awkwardness of the last section dulls the overall impact, but it’s worth checking out all the same. System Requirements OS: Windows 8/10 (64-bit OS required) Processor: Intel Core i5-750 2.68Ghz / AMD II x4 945 3.0Ghz or equivalent. Memory: 4 GB RAM. Graphics: NVIDIA GTX 560 2GB/AMD Radeon 6870 HD 2GB or equivalent (Integrated graphics not supported) DirectX: Version 11. Storage: 5 GB available space. Sound Card: Yes.

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