Salah-

I'm not sure u know what does spam even mean . actually .. How did u become founder ? U don't respect any rules u r always in the other side . I have been told that u paid to be admin . @*exo* wash rayk ? ana li ghalet wela anna ?

V1 Blur , text color

¤ Your name: Salah DZ ¤ Claimed Admin name: @AnnaToupet ( AnnA ) ¤ Date and time: Now ¤ Reason of complaint: (s)He ungaged 3 times a player that i have gagged for spamming . CAREFULLY:Admins are not allowed to give instruction to another admins, at breaking rules you can report him. Why i slayed Seiko ( the player ) Slay direct: who shoot lm of players Why i gagged Seiko ( the player ) GAG Inappropriate language, spamm, annoying commercials or offensive remarks. GAG who interferes with the work of the admins. ¤ Proof (screenshot or console or demo): Here and proof that i don't slay for no reason . ( this happened just 1 minute before the accident above happened ) HERE AnnA told Wizz to remove me so he did . In last ... you know me .

Developer(s) Frog City Software Publisher(s) Strategic Simulations Series Imperialism Platform(s) Macintosh Windows Release NA: September 3, 1997[1] GOG November 20, 2012 Genre(s) Turn-based strategy Mode( s) Single-player Multiplayer (up to seven players) ----------------------------------------------------------------------------------------- Balance is the key. That's what's most impressive about Imperialism, from SSI and Frog City: the delicate high-wire act of balancing military buildup, diplomacy, expansion, trade relations, and production. There are many successful empire-building games, but Imperialism reduces the concept to its essence - building an empire in the Age of Empire - and in doing so succeeds in creating an engrossing simulation of naked power-mongering. Ah, if only Cecil Rhodes could have lived to see it. Imperialism takes place in the years between 1815 and 1915, when major nations treated minor nations like fruits for the plucking. With "Manifest Destiny" as the rallying cry, England, America, France, Holland, Germany, and Italy established colonies by diplomacy, treachery, or brute force to acquire the precious natural resources and trading partners they needed. Imperialism doesn't deal with anything this specific. Its world is an abstract one of imaginary major and minor nations created on random maps. Each major nation begins with some resources and a few special units that can improve the land. Engineers build a transport network to haul raw materials and goods, prospectors look for precious minerals, miners mine them, farmers, foresters, and ranchers improve production. Land and naval military units protect your holdings and expand your borders. The game is played across a series of screens that access all corners of your burgeoning empire. A stylized main map shows you the whole world, allowing you to move units around to perform various functions. But the real gameplay is executed on four different screens that allow you to tend to economics and diplomacy. Here, you allocate transportation resources to various goods, set production levels, attempt to buy and sell goods, and conduct diplomacy. Each affects the others in a tightly woven set of relationships. For example, you must bring in coal, iron, trees, sheep, and cotton on the transport screen. On the production screen, you use labor, sheep, and cotton to make cloth. You use labor and trees to make lumber. You use coal and iron to make steel. Then you turn the cloth, lumber, and steel into shirts, chairs, and hammers that can be sold to your trading partners for a profit using the trade screen. As new technologies become available, you can also invest in these to improve your efficiency. Of course, the quest for raw materials is never ending, and the interrelationships are complex. Adding more labor, specialists, and military units requires a long chain of goods and production. Any breakdown in the line, and the whole thing grinds to a halt. Adding to the challenge is the fact that you need to nurture relationships with trading partners each turn. This includes building embassies, providing subsidies, paying bribes, forging alliances, and going to war. War itself can be handled either abstractly by the computer, or in a phased tactical combat mode. In tactical combat, you move units across a small map to attack the enemy. Military units develop throughout the ages, moving from minutemen and skirmishers to machine gunners and rangers. As a tactical combat game, it's slight, but interesting enough to add some spice to the relentless economics of the rest of the game. A few more tactical maps would make battles more interesting. The more bloodthirsty empire builder will find that Imperialism's extended economic model might not be enough for him. Of course, this doesn't mean the game can be played as an isolationist or pacifist. This is Imperialism, where the weak are crushed, and good riddance to them. Some little bugs have crept into the final code, and I had to play with my drivers so that the game would stop crashing. A list of all your units is desperately needed, so that you can check on their status and jump to them easily. There's a bit of a mid-game slump, where it seems like all you do is twiddle with trade and try to expand industry. I also found that at one point, everyone in the game waged war on me in the same turn because I hadn't built up a strong enough military. That didn't strike me as particularly real, since most were already fighting with each other. But, in the end, the damn thing is so addicting that I just played and played, when I should have been writing this review. The AI is good and aggressive, and Internet play appears stable. The most striking thing is the way all the disparate elements integrate and interplay, coming together in one fluid gaming experience that empire wonks will find a refreshing change of pace.

I Saw this in another server posted by @A.N.R Anouar A.N.R and i liked it ★ Your Nickname : Salah DZ ★ Map suggested : zm_q3 ★ 3 pictures of the map : ★ Link to download : Download

Welcome

Initial release date: November 18, 1999 Composer: Yasunori Mitsuda Composer: Yasunori Mitsuda Developer: Square Platform: PlayStation Designers: Yasunori Mitsuda, Masato Kato, Nobuteru Yūki, Hiromichi Tanaka, Yasuyuki Honne, Ryosuke Aiba ------------------------------------------------------------------------------------------------------------------------------------------------------------- Square's Chrono Trigger got everything right. The self-proclaimed "dream team" of scenarist Yuji Hori (Dragon Quest), producer Hironobu Sakaguchi (Final Fantasy), and character designer Akira Toriyama (Dragon Ball Z) created a quirky, enjoyable romp through time with a cast of endearing characters, memorable environments, solid RPG gameplay, and unparalleled presentation. Needless to say, fans have clamored for a sequel ever since. Which is why, after nearly five years of silence, the announcement of Chrono Cross drew so much ire. Where was the legendary dream team? (Only Sakaguchi contributed to Chrono Cross.) Where was the cast of characters we had grown to know and love? And who the hell was that Thundercats reject named Lynx? Things looked grim for the Chrono Trigger faithful. When Chrono Cross was revealed to have over 40 playable characters, many lost faith in the game entirely. Had Square thrown all pretense of a coherent story out the window? But fortunately for series fans, Chrono Trigger's dream team doesn't have a monopoly on RPG innovation. As with the first SNES title, everything in Chrono Cross "clicks" in a way most games wish they could imitate. The different parts combine into an instant RPG classic. The story begins with the hero, Serge, who is thrust into a parallel world where he died under mysterious circumstances over a decade ago. He teams up with a rowdy adventurer, Kid, and sets out in search of the mysterious Frozen Flame, an artifact that lets the holder reshape time and space on a whim. The enigmatic Lynx, a regal man-cat who hunts the Frozen Flame for his own purposes, opposes them. In his quest to return home, Serge will accrue both allies and foes, and he'll find himself thrust into an adventure that reveals his heritage, purpose, and ultimate destiny. Only by crossing between the two dimensions can Serge find the answers to his questions. Without revealing any more of Chrono Cross' excellent storyline, it can be said that it successfully pulls off the difficult balancing act every sequel faces. It's not a rehash of the original Chrono Trigger, but neither does it exploit the characters and setting of Chrono Trigger for name recognition alone. Instead, it sets up an equally valid, separate, and well-developed world, then slowly and responsibly weaves in elements, characters, and events from the first title. It doesn't continue the original Chrono Trigger mythos so much as it expands it. Gamers will be stunned by the resolution of the disparate plot threads. And with features like a unilaterally taciturn hero, an accommodating attitude toward interdimensional travel, and a new game+ mode, Chrono Cross manages to maintain the ineffable Chrono Trigger feel. The battle system deviates slightly from the RPG norm. The traditional "active time bar" has been replaced with a bar of seven stamina points. While the engine is still ostensibly turn-based, any character can take a turn at any time as long as they have at least a single stamina point remaining. Enemies can even interrupt your characters' attacks. Party members can unleash weak, medium, and strong attacks, which require one, two, and three stamina points, respectively. Even though the game pauses while waiting for input, the ability to start and end a character's turn whenever you please makes for a more frantic, "real-time" experience. Elements, Chrono Cross' magic system, is divided into six colors: black and white, red and blue, and green and yellow. The characters all have a "color alignment," which determines their affinity to certain elements. Once you obtain a spell, you place it in an acceptable empty slot on a character's element grid. For example, a spell with level "5+/-2" is a level five spell, but can be placed in any slot from three to seven with the expected drop or rise in effectiveness. Successfully landing a weak, medium, or strong attack adds one, two, or three bars to a characters' element grid. A character with sufficient element bars can cast a spell, but the cost is seven stamina points, temporarily dropping him or her out of action. Combine building element grids and plummeting stamina bars with the dynamic nature of characters' turns, and battles become a constantly shifting endeavor - yet always remain under the player's total control. Once you understand the intricacies of the battle system, encounters are always over quickly. Two other features of the battle system are dual techs and the color field. As in the original Chrono Trigger, characters can combine their special techniques for dual attacks; while dual techs are not as prevalent as you might expect, they are there to be discovered. The color field keeps track of the color of the last three spells cast. If the field becomes a single color, characters with that color alignment gain a statistical boost. Moreover, a monochromatic field is the only time when one of the game's mighty summons can be unleashed. Mani[CENSORED]ting the field to a single color is trickier than you might expect, as the interference of your opponents' spells can't be ignored. Chrono Cross has to be the most battle-friendly RPG ever released. All opponents are visible onscreen before the battle sequences begin, making battles easy to engage in or avoid. Even more pleasantly, every battle can be escaped whenever you like with a 100-percent success rate. Even boss battles. Don't like the way the battle is going? Your three red magicians hopelessly doomed against a blue powerhouse? Don't reset your console - just run away, regroup, and re-engage. And last but far from least, the option to automatically heal at the end of a battle is a boon from the RPG gods. Don't misunderstand; the game doesn't cure your party for free. But it will intelligently dig through your available spells and stocked inventory and use the necessary elements to return your party to fighting shape. So long, post-battle trips to the status screen, and don't let the door hit you on the way out. Chrono Cross also features a list of key items that can be selected and used on the overworld map and field screens. These items advance the plot, bypass obstacles, and recruit characters to your cause. While no one will fall head over heels in love with this gameplay "innovation," it does add an old-school adventure game feel and an element of interaction with the environment that most console RPGs lack. Surprisingly, Chrono Cross' seemingly endless supply of characters works to its benefit, not its detriment. The secret to its success? Every last one of the 40-plus members is a unique, story-driven, and valuable contributor. Unlike many cast-of-thousands RPG epics, each character in Chrono Cross is an interesting and worthy addition to your team. Everyone has a beautiful character model, excellently animated attacks, and three unique "limit break" type special skills. There's even a miniquest or special requirement for every character's best skill - that's a lot of extra adventuring! While you'll certainly have your own handful of favorites, you'll never add someone to your party and wonder, "Why is this character in the game?" There are no disposable placeholders in Chrono Cross. Even more surprising is the amount of unique text in the game. There is no dialogue spoken by "assorted other party members." Every character has his or her own reaction to and take on the story's events, expressed in his or her own special dialect, speech pattern, and dialogue style. Moreover, many exchanges are only found by having certain characters in your party. If your opponent has a history with one of your members, the two of them will hash it out before you fight. If one of your members has had an experience they feel pertains to the situation at hand, they'll share it with you. Square's localization team has done an incredible job with a comprehensive set of uniquely English dialects. The Japanese language has a broader base of vocabulary with which a writer can express a character's social class, self-perception, politeness level, maturity, and so forth. It would have been easy to dismiss maintaining the dialects as "impossible" and just do a straight translation - but Square did not. While some choices may seem odd at first (Kid as a foul-mouthed Australian sheila? Harle as a compassionate French belle?), the richness of the language soon becomes as much a credit to the game as the diversity of characters. Graphically, Chrono Cross is nothing short of stunning. While Square's Final Fantasy is glossy and polished, Chrono Cross has an organic feel lacking in the former's "perfect" environments. Vibrant color, creative design, and just the right amount of ambient effects bring the settings to life. Again, while Final Fantasy drops your characters into a small subsection of a large, epic environment, Chrono Cross lets you explore every nook and cranny of scandalously detailed towns, buildings, and dungeons. While we don't intend to slight Final Fantasy's excellent graphics and design, many gamers will prefer the more down-to-earth, personal, and "gritty" feel of Chrono Cross. The environments are well worn and lived in, not just-constructed movie sets. The battle graphics are also excellent. Characters and enemies are universally well modeled, textured, and animated. Camera movement, for the most part, always offers a great view of the action. Special accolades should be given to the spell effects - while they're impressive and suitably over-the-top, they're also short and fast. Thankfully, the sound and music more than match the graphics. Sound effects are varied and always match the situation at hand. The music is, in a word, gorgeous, and it will undoubtedly be many players' favorite part of the Chrono Cross experience. Chrono Trigger composer Yasunori Mitsuda has returned and crafted a masterpiece. Composition and sample quality are both outstanding, and the soundtrack runs the emotional gamut, presenting everything from playful mambo jams to sorrowful violin solos. While many songs are new and unique to Chrono Cross, the influence of Chrono Trigger can definitely be heard. Some songs are rearrangements of Chrono Trigger tunes, while other songs tactfully reference a three- or four-note phrase that only the most devoted series fans will recognize. With Square agonizing over every detail of its flagship property, the Chrono Cross team was apparently left mostly to themselves. Consequently, the game shares an all-out enthusiasm and joie de vivre found in the best 16-bit titles - back before games became multimillion dollar properties that had to answer to glaring shareholders. Chrono Cross may not have had the largest budget, but it has the largest heart.

Initial release date: February 23, 2017 Writer(s): Yoko Taro; Hana Kikuchi; Yoshiho Akabane Producer(s): Eijiro Nishimura; Yosuke Saito Composer: Keiichi Okabe Designers: Takahisa Taura, Isao Negishi Awards: The Game Award for Best Score/Soundtrack ----------------------------------------------------------------------------------------------------- MINIMUM System Requirement : OS: Windows 7 /8.1 /10 64bit Processor: Intel Core i3 2100 or AMD A8-6500 Memory: 4 GB RAM Graphics: NVIDIA GeForce GTX 770 VRAM 2GB or AMD Radeon R9 270X VRAM 2GB DirectX: Version 11 Network: Broadband Internet connection Storage: 50 GB available space Sound Card: DirectX® 11 supported Additional Notes: Mouse, keyboard and game pad (XInput only). Screen resolution: 1280x720. This product only supports MS-IME keyboard input. There is a possibility that other IME will not function correctly with it ------------------------------------------------------------------------------------------------------- The post-apocalyptic world of Nier: Automata thrives on its mysteries. Its ruined Earth setting is a playground of mayhem where fashionable androids lay waste to less sophisticated looking robots. Its premise of a never-ending war is initially straightforward. But if you know anything about the game's director, Yoko Taro, then you know to expect the unexpected. That includes everything from an unusual soundtrack steeped in vocals to a battle-hardened heroine who walks with the swagger of a supermodel. Automata also delivers a well-executed and refined combat system, the level of which alone makes Automata well worth the price of admission. You initially see Automata from the perspective of a female android named 2B who is part of YoRHa, a group of artificial soldiers tasked with wiping the Earth of its hostile robots and their alien creators. This conflict is all the more poignant due to humanity's displacement to the moon, an exodus that occurred hundreds of years ago. Joining 2B on most of her missions is 9S, a male android who lacks 2B's dual weapon-wielding prowess but compensates with invaluable hacking skills. They start off as strangers, but through the obstacles they overcome, an obvious closeness begins to form. This is thanks in part to Automata's sensational anime-as-hell archetypes and story beats. Given that Earth is utterly overrun with homicidal machines, making Earth hospitable seems like a tall order. But this challenge is softened by the manageable size of Automata's open world, which is equivalent to a small city. It entices exploration without feeling intimidating, and it's hard to get lost once you've run through the same paths a couple times. Much of the backtracking stems from the game's numerable side quests, where you help your fellow androids on simple errands and kill missions. While most of these tasks aren't especially memorable, they do add character to world. Furthermore, monotony is minimized by the convenience of fast travel and swift steeds like moose and boars. The brightside of being a robot exterminator in Automata is that your canvas of destruction is the product of Platinum Games. Their penchant for feverishly fast and elegant combat is on full display with visuals that echo even the most outrageous attacks from Bayonetta. Combat evolves beyond mindlessly mashing on quick and strong attacks thanks to the variety of bladed weapon styles. Combining any two types produces uniquely flashy animations and, more importantly, damaging results. You can trigger other gorgeous maneuvers by attacking after pulling off a slick dodge cartwheel or by holding down either of the two attack buttons. 9S' own skill with a sword makes him a substantial AI-controlled contributor, and his ability to keep up with 2B make the battles look positively frenzied. Given the demanding yet rewarding high-dexterity combat and the acrobatic skills of 2B, it wouldn't be unreasonable to say that Automata is the closest thing there is to a spiritual successor to Metal Gear Rising: Revengeance, also developed by Platinum. You're expected to use tools and techniques beyond the two main attack inputs if you have any hope of victory in ever encounter. Your pod companion--which echoes Grimoire Weiss, the floating book from the first Nier--provides you with various forms of support. Not only does the pod provide you with a sustained ranged attack, it's another outlet for personalizing your approach to combat. You can swap in a wide variety of passive performance enhancing chips, that provide you with stat buffs and helpful automated commands. Relying on your pod to automatically use one of your health items when your HP drops below a certain point makes healing one less thing to worry about. Your pod allows you to focus on other survival concerns, like kicking ass and looking good in the process. Given the demanding yet rewarding high-dexterity combat and the acrobatic skills of 2B, it wouldn't be unreasonable to say that Automata is the closest thing there is to a spiritual successor to Metal Gear Rising: Revengeance, also developed by Platinum. If you ever run out of healing items and get murdered by enemy robot, however, you’ll lose your experience points if you can't return to the point of your last death. This is similar to the style of difficulty po[CENSORED]rized by Dark Souls with an additional risk of loss: along with the suspense of potentially losing experience you've earned since your last save, you can also lose all of your pod's installed chips, with the exception of the mandatory operating system chip. While Automata resoundingly delivers that specific flavor of stylish combat found in Platinum's best works, it never overshadows Taro's distinct directorial handiwork and penchant for unconventional game and narrative design. It's the type of production that seamlessly blends story, hack-and-slash combat, and--believe it or not--an engaging bullet-hell shooter component. You don't question the infantile behaviors of many of the enemy robots because they're so darn endearing. And you don't get an explanation for 2B's cosplay-ready gothic lolita outfits, how she manages to move smoothly through a desert in heels, or why some of her comrades behave like self-involved teenagers. You just go along with it because of Automata's captivating world and involving battles. Taro's unorthodox approach to game design is best exemplified by Automata's multiple endings and the varying degrees of substance in those conclusions. He's not above novelty or gag endings, though the real rewards are the five major endings and the various journeys to each one. You don't get the complete picture until you reach those five endings. As you travel down these various paths, you're not only introduced to new events, but also given new perspectives to moments you've already experienced. Your forward progress isn't propelled by the mere compulsion to achieve 100% completion; you're simply pulled by curiosity to learn more about what happened to Earth and humanity. Thanks to Platinum Games' knack for riveting and gratifying combat, Automata is Yoko Taro's most exciting game to date. The combat mechanics click after hurdling a low learning curve, and the end result is a skillful dance where balletic dodges complement wushu-inspired aggression. Moreover, this multi-ending trip is generously peppered with surprises and revelations, as well as easter eggs that call back to the first game and the Drakengard series from which Nier spun off. It's a meaty, often exhilarating trek that showcases Platinum Games' and Yoko Taro's unique blend of genius. Editor’s note: Nier: Automata has released on Xbox One as the Become As Gods Edition, which includes the 3C3C1D119440927 DLC along with several cosmetic items for the main characters and pods. We tested the new Xbox One version by playing through the first three hours of the game, and it runs at a stable frame rate at 4K on the Xbox One X. Most importantly, everything we love about Nier: Automata is, of course, still here: the evocative soundtrack, unique narrative style, and affecting story are as strong as ever. We have updated the score to include the Xbox One version. - June 26, 8:00 PM PT

Welcome Friend

true . and we need to get more admins in my opinion . Good ones

Welcome

Edit : problem fixed .

Initial release date: August 30, 2016 Genre: Turn-based strategy Publisher: Finji Mode: Single-player video game Platforms: PlayStation 4, Nintendo Switch, Xbox One, Microsoft Windows, iOS, Linux, Macintosh operating systems Developers: Finji, Adam Saltsman ------------ MINIMUM System Requirements OS: Windows 7 Processor: Intel Core i5 Memory: 4 GB RAM Graphics: Intel HD Graphics 4000 Storage: 1500 MB available space ------------ Every victory in Overland, no matter how small, is won by the skin of your teeth. That's a feeling any good turn-based tactical strategy game gives you, of course. But Overland's pared-down options, compact maps, and fast-rising stakes mean that nearly every decision--the car you drive, the company you keep, where you move, what you carry--feels vital and could potentially have major ramifications. A mysterious and omnipresent race of creatures (I think) has ravaged the USA, and for the characters under your care, road-tripping from the East Coast to the West Coast seems to be the best course of action. The journey across Middle America is a beautiful but difficult one, filled with life-or-death obstacles right from the get-go, and Overland's roguelike structure means you will see dozens, if not hundreds, of ordinary people (and dogs, all of them good) perish in fraught situations. But the high risk makes its small victories, like finding a cool item or escaping an area unharmed, feel all the more rewarding, more motivating. Overland is filled with bite-sized doses of relief that feed you with the encouragement you need to continue helping these poor folk on the off chance that maybe this time, you might make it all the way. The post-apocalyptic survivors of Overland don't possess the combat expertise of XCOM or Fire Emblem soldiers. The randomly-generated personality traits for characters are simple in nature, but make them feel more grounded and sympathetic than your typical strategy soldier, perhaps emboldening them as a good yeller, or informing you that someone “really misses their family.” Attacking and killing the unnerving and aggressive rock-like creatures that stalk you in each area you traverse is an option (if you happen to be carrying a makeshift weapon, at least), but clearing the playfield of hostiles isn't really the objective here. In fact, the noise that you make in attacking the creatures only attracts more, and in the game's densely packed maps, consisting of a 9x9 grid filled with buildings and solid obstacles, it will quickly create a scenario that is impossible to escape. Overland is instead a game that centers around your roadtrip vehicle. The vehicle you drive is your lifeline, and as you move from area to area on your trip west, your main priority is to keep that four-wheeled machine fueled and in good shape. You start with a simple hatchback but will eventually stumble across different models, and your type of vehicle will inform your strategy--vans let you transport more survivors than your standard car should you encounter them and pickup trucks provide plenty of storage for items but sacrifice seating. SUVs are a late-game godsend that marry the best of both worlds. Escaping an area on foot is possible, but as you'd expect, it's impossible to make any cross-country progress--your characters will be funneled into an area with a beat-up car to try and salvage in order to move forward. Keeping your engine running is the game's central challenge, and it's a demanding one. You need to scavenge new areas for fuel canisters, perhaps finding them in dumpsters or slowly siphoning gas from abandoned cars, and you might find some useful tools and items to assist you along the way. But where Overland creates its challenge, and in turn, its compelling high-risk decision making, is in the strict limitations it puts on what you're actually able to achieve. Restrictions characterise every aspect of the game: Your characters can only take two actions per turn and two hits before dying, and getting injured reduces your actions per turn to one; your vehicle can only take two hits before exploding, and its movement is limited to the two-lane road down the middle of the map, which will often be littered with junk; each character can only hold one item, meaning scavenging is an onerous task that potentially means giving up the ability for a character to defend themselves, and the compact maps mean you're always one square away from either narrowly slipping by or getting skewered by a creature. The lack of choice and options available to you in the overall moment-to-moment makes the ones that are there feel intimidatingly important--one misstep can cause serious havoc. There are items and character traits that can help push these boundaries. For example, your lone starter character will always be equipped with a backpack to carry an extra item, some traits will let survivors perform specific actions for free, and most (but not all) dogs have an inherent attack option. But it's rare for you to feel like you have a complete handle on the situation in Overland, and even then, it'll definitely be short-lived. The margin between success and failure is very fine, and constantly having to fly by the seat of your pants and improvise is a heart-pounding feeling--an undo function is available but has limits and conditions, and the game saves after the end of each turn. All of these factors help guarantee that every new run of Overland you play will be filled with memorable narratives born out of the natural flow of the game. One time, I was eking through a road blockage by having two characters clear debris as a third slowly snaked the car through a narrow passage, all while dozens of creatures bore down on us. A larger creature shoved debris between the clearing crew and the car, leaving me no choice but to escape on foot and leave the driver behind to a grizzly fate. In another situation, my crew of three stumbled across a brand-new, well-equipped pickup truck. But it could only seat two people, and after some consideration, I purposely drove away with my two stronger ones, abandoning the weakest member of the group. Later on in the run, that person would come back to try and get revenge. In one of my favourite scenarios, one of my human characters was cornered, unarmed, by a creature while scavenging. In a moment of desperation, I commanded her two other companions, both dogs, to race to the car, grab a wooden pallet from the trunk, and work to pass it to her relay-style so she could block the hit she was about to take. Overland is filled with these kinds of thrilling, dire scenarios where you need to improvise an immediate solution or resolve to just drop everything and get the hell out of there. There is a caveat to a game with so many difficult decisions, however: The risk of getting yourself stuck in a bad situation with no obvious way out and a feeling of merely perpetuating your eventual demise. You'll likely have many forlorn campaigns in Overland, especially when starting out, where the difficulty and hopelessness can feel overwhelming. Perhaps you're constantly driving on fumes and finding it's too difficult to obtain fuel from any of the areas presented to you, or perhaps your survivors are all injured and movement-restricted, making it feel impossible to achieve anything meaningful. Overland does present you opportunities to crawl back from these hopeless brinks--believe me, it's possible. But it can sometimes feel like the procedurally generated aspects of the game are stacked against you--especially when you have a crew equipped with debuffs like "Bad Driver" and "Clumsy,"’ guzzling up gas at an increased rate and making a racket with every action they take. But Overland's brutal, minimalist design is tough to stay away from. The bite-sized victories you narrowly eke out with each new area are incredibly moreish, and the game feels very well-suited to portable play on both Nintendo Switch and on iPhone through Apple Arcade. The game's clean, stylish art direction and somber, eerie soundtrack help to build the intriguing sense of mystery, too--whatever is happening in this post-apocalypse is likely much bigger than you or your survivors will ever have the chance to fully understand. All that matters is getting your survivors to the West Coast and making it through seven different biomes filled with an increasingly distressing variety of threats and hardships with whatever tools you can scrounge together. Overland perfectly captures a feeling of being helpless, of only just getting by, and of being afraid to venture too far away from your car into the pitch-black dark of night. Every movement you commit, every action you command, and every item or character you sacrifice for another will be an apprehensive decision. But taking each of those tough steps makes you even more grateful to hear the soft chime of your car's open-door alarm when you make it back, and the rev of the motor when you escape down the highway, relieved to leave another pack of abnormal creatures behind.

@Roselina ✾