Destrix

Jaguar Land Rover is to suspend all production at its plants across the UK, in response to the spread of coronavirus. The firm said manufacturing would stop next week. It plans to resume on 20 April, but said this could change. Its decision is part of the company's plan to "safeguard its business continuity". The Coventry-based car-maker has plants across the UK, including Castle Bromwich, Solihull, and Halewood. Operations are still continuing overseas. Its factory in China reopened at the end of February, it said, as "life begins to get back to normal in the country", while sites in Brazil and India are still in operation. In a statement, the company said its decision to restart UK production on 20 April was "subject to review of rapidly-changing circumstances". Latest news from the West Midlands It comes as BMW, Toyota, Honda, Nissan and Vauxhall have already closed their plants in the UK. Bentley has also suspended production at its plant in Crewe for four weeks, due to the "accelerated rate of infection" and the "interruptions in the supply chain", as well as an expected "decline in demand". Core business functions will continue, however, with meetings to take place via video calls. Adrian Hallmark, chairman and CEO of Bentley Motors, said it was a "difficult decision to take" but that these were "unprecedented times".

There’s this obscure game called StarCraft – you probably haven’t heard of it. It was one of those games that was so well designed that for years afterwards, most that came after its throne were either failed experiments or pale imitations, and even those that succeeded were just more of the same. Here are a few factions, they’re unique but equal; here’s a campaign where you fight each other faction then a civil war, with each level unlocking more stuff. Get unit x to position y, hold your ground for 30 minutes, insert tab A into slot B. You must construct additional… Mylons. Yeah, that’ll do. StarCraft numbed me to the RTS for years. Everything wanted to be it, but I’d already played it. Even to this day, I find very little to recommend from that era. In a shock twist, however, there’s an exception in Warlords Battlecry 3. It came out in 2004, as the last in a series of real-time strategy games spun off from the turn based Warlords series that utilised RPG elements as far back as the late 80s. It’s one of very few RTS to sustain my interest for more than an hour or so, and has consumed me for weeks on end when I boot it up. The RPG RTS hybrid wasn’t unheard of even when the the first Battlecry came out in 2000, but until the third, no other game had brought the genres together so well without also bringing the baggage along. The joy here is in the execution rather than the premise, which is simple enough. Though there’s a little backstory and a hint of flavour here and there, it’s never prominent. We need very little reason to murder tiny electronic people, after all. Sixteen fantasy races, including all the usual suspects – undead, orcs, insects, elves subdivided into snobby/hippy/teenaged – are split into factions, given a selection of leaders, and pitted against one another, either in skirmishes or the campaign. The latter is a map covered in hubs, each home to a specific faction and a couple of battles or other encounters, in which you might buy items or hire mercenaries. You’re free to travel about these as you see fit, and some can be replayed, with a few offering a permanent choice between factions to ally with, which allows you to play as their side and access different strategies and units for your retinue. What’s the retinue? It’s a system that should have been made a genre standard years ago. At the start of the battle you get army setup points to spend on standard units for your faction or any units in your retinue, but every unit gains XP for killing, and once they’ve hit a few levels, you can bring them with you on any mission until they die. Depending on your hero’s stats, this can even be the focus your strategy. At one point mine included a flying zealot with a flaming sword, a witch who laid spider eggs in her victims, two gigantic building-stomping ents, and a triceratops. Quite a few battles end early with a hell of a shock for some poor sod expecting squishy elves. This, and the alliances, are as close to decision-making roleplaying as WB3 gets. It’s not a character- or narrative-based game at all. The plot is hands-off, and the bulk of your time will be spent pootling around to uncover more of the map and level up your hero. Experience and units accrue even in skirmishes, which can be customised as you like, bringing to the foreground what WB3 is about. It’s not a heavily scripted, linear campaign like Spellforce, nor is it meticulously balanced like StarCraft. Battles are mostly freeform, and units are fairly autonomous too, despite individually tracked XP and many spells and special abilities, avoiding the micromanagement that turned Warcraft 3 into a bit of a chore. Rather, it’s more like someone squeezed some essence of Master of Magic into the free for all structure of Total Annihilation. You can’t build the same army every time and be sure that it’ll stand a fair chance, but you can summon an undead dragon that steals XP, build golems that spawn free kamikaze units, or make leprechauns fight a T-Rex. As a result, factions in WB3 aren’t meticulously balanced. Each has entirely unique buildings and units, and even similar ones will vary in cost, and in the significance of that cost to their faction. Say your spearmen hits harder than a rival’s swordsman, but the latter are resistant to your piercing weapons. But while yours is inferior in raw stats, you only need gold to train yours, and you have no other use for gold, whereas your opponent needs stone and ore to train theirs. You’ll have nothing to lose by burning useless gold, but they’ll have to divert stone away from a building upgrade to keep up. This applies to the faction level, too. The Empire, for example, start out with exclusively piercing weapons, while the insectoid Swarm have several low-level troops who take reduced damage from these. If the Swarm strike early it’s a one-sided battle. Life is even tougher for the laughably weak Fey. Their troops are tiny, weak, and vulnerable to all physical damage – a common oaf with a sword, fully expected to die in droves on some demon’s claws, will effortlessly tear apart Fey troops, who have little choice but to keep swarming and hope to hold out. Then, fifteen minutes later, you’ll notice a Fey scout with twenty times the xp of your soldiers, and the corresponding upgrade in stats. What’s happening? Well, given time and resources (some of which they get for free every time their towers score a kill), the fey can upgrade all their units to a terrifying degree, and turn those campily prancing jokes into an unstoppable tide of magic-flinging death, led by dragons that generate free resources with every kill, and units that add gold to their coffers just by existing. Economic warfare becomes more nuanced, too. There’s no guarantee that you’ll start near any of the resources you need. Dark Dwarves have almost no need of crystal, but are crippled without plenty of stone, whereas Orcs get free stone every time they destroy a building. Making the most of these quirks and mismatches is where the RPG bit comes in. Your hero isn’t a beefed up grunt that you daren’t risk in any fight where they might be needed (there is a permadeath option wherein death ends the whole campaign and deletes your save, but any unit can get a lucky shot in that instantly mangles another, so good luck). Your hero’s class defines which stats they can level up, which in turn give direct bonuses to them or their troops. Take my Wood Elf Bard, who I’m going to call Cass and not the anatomically suspect name I actually typed in, presumably while drunk. She’s loaded up with Dexterity, which translates to moving faster, hitting more often, and crucially, capturing mines faster. Even when the enemy retakes them, Cass converts them back again so fast that it’s a net gain to simply keep doing it – for every minute their hero is tied up stealing my mines, she only needs 20 seconds to take them back. Of course, that comes at the cost of lower hit points and weak spellcasting, and giving the game a strategic emphasis, whereas different builds pull the game towards Nox territory, personally laying waste to small armies or casting spells that instantly wipe out thirty attackers. Exactly where it belongs on a scale that includes StarCraft and Dota is impossible to pin down. All this speciation trickles down from one principle, really: screw balance. Each side is truly unique, and tuned well enough to play its own way, not to be equal. Heroes differentiate them further, and the retinue system and the need to roam and capture mines cut down on the early game tedium that wears out so much of the genre. The sheer variety of playthings on offer lends it a lot of long-term replayability. Its conventional layout and sprite-based graphics give it an unremarkable, old-fashioned appearance, but Warlords Battlecry 3 is comfortably one of the best base building games ever made.

Happy Birthday

I’ve never played a game like OneShot [official site]. I’ve played rather a lot of games, too. It’s also been a really long time since I’ve cared about a game’s main character quite so much, to the point where decisions really mattered to me. Which is rather a lot to say of a game made in RPGMaker. But then this is a game that does stuff with that cutesy engine that I would never have thought possible. It does stuff with my PC that I didn’t know games could do. This is quite the thing. Here’s wot I think: Things start off with few hints of what’s to come. You play as a young girl with cat-like eyes who wakes to find herself in a sparse, locked room. There’s a shelf, a PC, a window and a TV remote. Getting out from there perhaps evokes locked room games so po[CENSORED]r on mobile, but this isn’t a theme that lasts. Instead she finds herself in a desolate wasteland of broken robots, fragmented lands, and eternal darkness. But, you almost immediately learn, she is the chosen one! She is the “Messiah”, clutching – as she is for most of the game – a light bulb the few remaining locals refer to as “the sun”. The Messiah is prophesied (so you are told by a specially powered ProphetBot) to carry the sun to the top of the tower in the central city of this world, and return light to the land. Okay, fairly standard RPG stuff, if still bleak and peculiar. It gets a little stranger when three other protagonists are introduced, one of them being, well, you. I was wandering the Messiah through the outer province of The Barrens, a little stuck for what to do and pretty sure I needed to find the combination for a safe I’d discovered elsewhere, and found a computer inside an abandoned building. Using it, it becomes clear the machine is talking to me, not the game’s character, which she picks up on as well. It comments that the safe combination is not available in this world. And then the game popped out of fullscreen (it runs at 640×480, but F8 has it take up your whole screen) and back into a little window, and a Windows dialogue box popped up. “Do you know what that means, John?” I’d never told the game my name. That was spooky. It turns out it digs it from your Windows profile (and were you to have that set to something else, it does offer a chance to change it in-game), and that’s not the only time it messes about with your PC. I did know what it meant. I found the combination outside of the game, and from this point on the Messiah knew I was there too. At which point a relationship between you and the character you’re controlling begins. Through limited dialogue options you can answer her questions, choose how much of your own reality you might want to reveal to her, as the two of you discuss the nature of the Sun. You can also choose how much you want to play up to her assumption that you’re some sort of god. The plot that unfolds is simple, but superb, even before the meta peculiarities. Very early on it becomes apparent that this is a world that’s in real trouble, strange glitches appearing alongside the more immediately obvious consequences of losing daylight. And there’s history here, a complex background of humanoid races and the robots they’ve created, how this small society is adapting to a world where bioluminescence is their only light source, and their shared history seemingly entirely collated by a figure referred to as The Author. Then the Messiah sees a bed, and asks you – you – if you mind if she has a sleep. Say yes and she’ll climb into bed, the screen fades, and then the game closes. You’re back to desktop. Reload it and she’s in the middle of a dream. Absolutely amazing. But, it turns out, just a small taste of the cleverness it has in store. I’m not going to spoil any of those surprises, but I’m pretty sure you’ll never have had a game do what it does. (A word of warning in that respect, and perhaps a hint of a spoiler – if you’re using any software that replaces Windows’ defaults for desktop gubbins, you’re going to hit a problem at a certain point. I closed down DisplayFusion, and had a much better time with the game as a result.) What makes the game truly magical would all take away from your experience of playing it. I want to say, “Gosh, X meant X was X!” and think such uncensored sentences would have you forking out the £6.30 without another thought. But then you’d hate me when you got to that for taking away that moment of surprise. So instead I’ll talk themes. This is a game about relationships, both the immediate connection between you and the character you’re playing, as well as an opaque commentary on the nature of all relationships between players and gaming characters. It made me think about such things in a new way, without ever overtly flagging that I should, and certainly without ever being so clumsy or cumbersome as to outright raise the matter in its narrative. It’s also a game about childhood, without feeling the need to shout about that – it just is about childhood because the character is a child, and the writing is true to that. It’s also ridiculously lovely. The interactions with other characters are mostly brief, but the many dozens of them are all worth reading, and nearly always contain a moment that will make you smile. And why is it called OneShot? I seriously don’t want to say. You’ll appreciate why. This is an incredible game. I started it with no expectations at all (as I mentioned before, I can’t even remember why I’d flagged the game to look at), and have come away from it as one of my favourite games of 2016. It rather nicely book-ends the year for me with Pony Island, two utterly different games that both explore similar themes from extremely different angles. Completely charming, delightfully written, and extremely clever – stick this on your Christmas playlist.

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Nissan is the latest car maker to temporarily shut one of its factories as it can't get parts from China. The firm will halt production for two days at a plant in Japan which makes the Serena and X-Trail models. Global car brands are facing similar disruptions as much of China's manufacturing sector remains locked down due to the deadly coronavirus. Hyundai temporarily closed its factories in South Korea last week due to a shortage of Chinese parts. In fact, many of the world's biggest car makers are dealing with dwindling supplies as factories across China remain closed. China is the world's manufacturing powerhouse and a major part of the global supply chain for the automotive industry, making key parts and components. Hubei, where the coronavirus outbreak first started, is a major car manufacturing hub. China launches coronavirus 'close contact' app Fiat warns of risk to Europe car plant Why much of 'the world's factory' remains closed Last week, Fiat Chrysler said it was considering halting production at one of its European plants due to difficulty in sourcing parts from China. It joins a long list of car brands that rely on Chinese exports. ''It only takes one missing part to stop a line," said Mike Dunne, a consultant to the car industry in Asia. Many factories and car plants were due to reopen on Monday after an extended Chinese New Year break. Some restarted production, but others remained closed due to local authority restrictions and lack of workers. Nissan expects to restart production in China on 17 February. In a statement, Nissan said: "Due to supply shortages of parts from China, Nissan Kyushu in Japan will carry out temporary production adjustments on February 14 and 17." It stressed there was no impact on its other Japanese factories. Nissan is part of a French-Japanese strategic partnership that includes Renault and Mitsubishi.

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Nick: _ _ It Real name: Abdo How old are you?: 20 Which Games you play? and for how long?(each of them): i Play Cs1.6 2 h in day and i paly Free Fire 4 h in day Where are you from?(country and city): Algeria - Medea Describe yourself(at least 50 words): I am a respectable and lovable man, I help a lot of people Note some of your qualities: Tall and gentle Tell us some of your defects: Worry and anxiety On which category/categories have you been active lately?(describe your activity): VGames Reviews and Devil.Clubs Which category/project you want to care off?(choose from THIS LIST): VGames Reviews How well you speak english?(and other languages): 7/10 Do you use TS3? Do you have an active microphone?: i dont have Contact methods: instagram Last request: my First Request