D A R K™

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رمضان كريم علي الامه الاسلاميه جميعا ويتعاد علينا وعليكم بخير انشاء الله وكل عام وانتم ب الف خير🧡

Welcome !!

¤ Name[/nickname]: D A R K ¤ Age: 17(21.08.2002) ¤ Country: EGYPT ¤ Occupation: Student(11th grade) ¤ A short description about you: Working with Photoshop since 2018 and.. working game views ¤ How did you found out Csblackdevil Community: my friends ¤ Favorite games: cs 6.2 ¤ Favorite server [community only]: highlife iam old member her ¤ A picture of you: PM!

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Welcome!

Welcome

¤ Name[/nickname]: Revo ¤ Age: 16 ¤ Country: Egypt ¤ Occupation: - ¤ A short description about you: i am old here ¤ How did you found out Csblackdevil Community: by friends ¤ Favorite games: cs1.6 and some others but mostly i play cs1.6 ¤ Favorite server [community only]: HighLifeZm

Rark! Halt your garbage vessel!" The captain of the hailing ship is an alien called a Drenkend who looks like one of those super-jacked kangaroos who has steroids for breakfast that has been surgically grafted on top of a Roomba. He's aggressive and aggressively stupid, and his species has been ordered to kill all humans on sight. At the helm of humanity's first interstellar starship, I'm on a quest for friendly species who might help us in our fight with a galactic totalitarian. The Kangaroomba, on the other hand, just wants to start shit. Worse, every time I destroy one of these bozos, another one hails me and has the same conversation. It was pretty funny the first time. Now, not so much. Moments after I destroy the Drenkend fleet, I receive an incoming hail: "Rark! Halt your garbage vessel!" It's yet another Drenkend, and I absolutely want to just die of boredom. With an entire galaxy full of star systems and exoplanets to explore, it's frankly unbelievable how shallow everything in Star Control: Origins feels. All of the same pieces of the 1992 MS-DOS classic, Star Control II, are still here: funny dialog, diplomacy, planetary exploration, space battles. But they come off as hollow imitations lost in the endless void of the grind. For example, one of the most important jobs of my ship, the UES Vindicator, is gathering raw materials to bring home to Earth. The Vindicator is humanity's only interstellar ship, and keeping it running or building a second ship is going to take up a lot of resources. Finding resources is easy: fly into orbit around a planet, launch a lander, and drive around the surface picking up floating blocks of iron, aluminum, gold, etc. There are a lot of different elements, but they all just go into the big Tank O' Crap I sell back at Earth, so I didn't care if I was picking up argon or oxygen. If I could have used the elements to craft upgrades for myself, that might be another matter, but the resources-and-trade system here just isn't that deep. Every planet is more or less the same—some are sort of gray or brown and some have trees and lakes—and the floaty, bouncy physics handling of the lander craft is an absolute horror. I get stuck on every little ridge and hilltop, and there's no joy or challenge to driving around an empty planet to pick up Space Cash. Landing on planets involves a simple keep-within-the-lines mini game that only lasts for a few seconds and is equally joyless. Exploring planets did occasionally make my framerate stutter and my landing craft explode for no reason, which was at least good for a laugh. I'd be more than happy to ignore resource-gathering entirely, but I quickly found that I couldn't. Aside from exploring samey planets, there's a whole galaxy full of species to talk to and far-flung destinations to reach. I set out into the stars, looking to seek out new life and new civilizations. Maybe I could even build a federation! But journeys are also a terrible slog, a murderous trial by attrition. Every encounter with a pirate or enemy vessel chipped away at my ship, and it's impossible to repair or refit away from a space station. Winning fights wasn't good enough—I had to win them flawlessly, because every piece of damage would still be there for the next fight, and the next. More than once, I pounded and fought my way to a destination system only to arrive in tatters and with no possible way to make it to the actual planet and the aliens I had been sent to talk to. The only way to fix this was to start the journey again but with more upgrades on my ship and friendly ships recruited for my fleet—and that meant I had to head back to the landing craft to farm some resources. God, what a shame. The grind is so heavy that anything that doesn't feel like a grind feels out of place, as though the game is telling on itself a little bit. Holding the forward button to cross interstellar distances isn't fun, so just turn on the auto-pilot and the ship flies itself. The landing-on-a-planet mini game isn't fun, so a landing craft upgrade lets the lander fly itself. The combat can be really frustrating and repetitive, so an upgrade lets the ship fight battles itself. These options don't really make the grind any better, but with good planning and a little care, you can almost avoid playing the game entirely. The real jewel of Star Control: Origins is the writing. There's snappy dialog everywhere, and each alien species is fantastically detailed and fleshed out as a distinct personality. The Tyvoom, for example, are sweaty worm nerds who are just desperate to have even one single friend. The Mu'Kay are adorable squids who exude joy and happiness (First contact with the Mu'Kay began, "Many playful splashes, unknown alien!"), but with a hard edge of self-delusional boredom. Any of these aliens and their jokes would fit in well with a Douglas Adams novel. They're that good. At least, they're that good the first time. Again, the feeling of emptiness and shallowness seeped into my interactions with aliens. Everywhere I went, an alien would greet me identically, as if to say "Hello! Here are the seven jokes I can offer you." It wasn't long before I stopped hailing friendly ships to say hello, and I started ordering Fire At Will with enemy ships just to avoid having the same damn conversations again and again. This is a real problem in a game that should theoretically be about diplomacy. I never got the feeling that I could offend an ally enough to turn them into an enemy or sweet-talk a pirate into letting me go without a fight. I was hoping for diplomacy tête-à-têtes like Picard, but what I got was like having an argument with the animatronics at Disney World. The variety and depth of diplomatic options are, I think, where Star Control: Origins feels the absence of the original creators, Fred Ford and Paul Reiche, the strongest. It feels bizarre to say it, but that 1992 MS-DOS game was, first and foremost, a point-and-click adventure game where talking, wit, and character where the foundation of the entire project. Instead of talking and forging alliances, Origins pushes me to spend more of my time in repetitive grind-combat-grind cycles that don't have the same joy. Red alert There's one thing in Star Control: Origins that is worthy of unreserved praise, and it's the arcadey dogfighting of ship-to-ship combat. This is also where Origins lifted the most directly from the original—as a result, it's the most interesting and deeply varied thing Origins has to offer. When a battle starts, two ships are dropped into a space arena full of obstacles like electric storms, wormholes, asteroids, planetary gravity wells. Speed and momentum follow space rules: if you thrust forward, the only way to slow down is to turn around and thrust backward. Swinging around and around without time to fully cancel out velocity makes combat fast and chaotic, and there's a massive variety of ships and weapons to tangle with. During my battles with the Drenkend (the robot kangaroos), different classes of ships used different weapons and tactics. The Zealot, a small, fast ship, would fly straight at me to use its single weapon: self-destruction. Carriers, on the other hand, launched wave after wave of boarding parties, small shuttles that would fly toward me and take a serious chunk out of my crew po[CENSORED]tion if they made contact. Still other ships used more conventional lasers and sniped at me from a distance, and that's all within just one species. Space combat is genuinely great, and the standalone Fleet Battles mode is the strongest recommendation for Origins entirely. Fleet Battles lets you build a fleet out of any number of alien ships and jump right into the action against local or online opponents. Free from the constraints of Story Mode's grind, losing a fight or winning by the thinnest of margins doesn't mean a trip back to the salt mines—just load up a new fleet and go again. Fleet Battles is a little hint of how much fun this game could have been, if only the rest of it had been rebooted with the same depth and attention to detail as the combat arena. I don't think that Stardock deliberately set out to make Origins a grind. A grind is just what happens when you build an entire galaxy and fill it with only three things to do. That's the real tragedy here: If this game wasn't a grind, it would just be empty space.

Gold Nova III

Zombie Plague the best mode cs 1.6

Ak 47 the best

Hunter, beacuse he have high jamp

Happy christmas

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The latest attempt to try and mod some engaging combat into Skyrim draws inspiration from arguably the best duelling game around: Sekiro: Shadows Die Twice. Lucky Skyrim. Check out modder Lert Krush's Skyrim Die Twice test video above. Creaky animations aside, it looks like a pretty faithful adaptation of Sekiro's incredibly tense sword fights. In Skyrim, unmodded melee amounts to just hitting stuff and occasionally blocking. It's not great, but it is very accessible. With this Sekiro mod, however, you need to wear your opponent down by deflecting their attacks, which drains their stamina and eventually staggers them, giving you an opening. Enemies can do the same to you, but thankfully the mod also gives you ninja-like agility, letting you roll out of the way and, if your enemy is a cowardly archer, deflect their arrows. The mod also borrows some of the visual cues Sekiro uses, helping you to nail the timing. While the mod is finished, you can't rush off to somewhere like Nexus Mods to download it just yet. Lert Krush originally created it just for themselves, but the reception to their videos has been positive enough to make them want to release it so we can all give it a try, but there's one speed bump. It's a modification of Ultimate Combat SE, so they'll need to get permission from its creator before the mod can be published. Hopefully we'll be able to take it for a spin soon, and in the meantime you can practise deflecting in preparation. Or you could browse our list of the best Skyrim mods. Cheers, PCGamesN.

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Having played Rayman Origins on the consoles, I'd already fallen in love with its colourful world. So coming to the PC version felt a bit like re-enacting a first date: a stupid but good-natured romantic fiction. But just as we're getting ready to go to that pub where we met, so I can pretend to come over and offer the PC version of Rayman Origins a drink, it turns to me, and lets its dressing gown fall to the floor. I am aghast. There's just a smooth patch of skin where the DRM should be. It's never looked more beautiful. Apart from that, this is a pixelperfect port of an inspired and downright wonderful platformer. Rayman distinguishes itself and embarrasses the competition with its visual design. The creativity that flushes through every square inch of the canvas makes Mario feel like a stage adaptation of a washing machine manual. Moreover, Rayman Origins exists comfortably in its two dimensions, the only concession to the third being understated parallax. It makes the hysterical original Sonic levels in Sonic Generations feel insecure and incoherent. Everything about the level structure makes Rayman Origins intuitive and joyful, and every design decision has been made to test the expert without alienating the beginner. The levels vary from familiar takes on platforming staples – cloud levels and underwater levels – to such oddities as a world based on didgeridoos. Gourmand Land takes food as its theme, effortlessly spinning snowy freezer cabinets and lava levels inside an oven. All levels are united by a deceptively simple aim: collect the small number of Electoons. Some will be in hidden areas, others won by collecting the hundreds of yellow Lums. Many of these are within easy reach, others fly out of bubbling platforms, acting as both rewards and signposts. King Lums add a touch of urgency and demand precision, doubling the value of other Lums you collect for a short time. Skull Coins are worth 25 Lums, and require the nimblest fingers and sharpest eye. To master a level, you don't have to collect every Lum, but it's so tight, you'll consider starting again if you miss one. That's where Rayman Origins pulls its friendliest and most compulsive stroke. Each level is split into short checkpointed stages, allowing you to explore, forage and suicide-restart your way across a level. Death isn't punished, and apart from a rude turning circle when negotiating tight underwater levels, no failure feels unfair. You'll never have to return to a level later, with your new powers: everything is within grasp on the first playthrough. The challenges vary. The bridgecrossing levels are low on hazards, but heavy on the speed-testing King Lums. The Mosquito levels transform the action into sidescrolling shoot-'em-ups, which are much more enjoyable when played on a gamepad. The optional Tricky Treasure levels are the toughest, and the only time when the game demands absolute perfection and declines to offer checkpoints. Apart from these levels, any frustration is bite-sized, manageable and deliciously compulsive. There's never a moment when you want to stop playing. With four players playing locally, it becomes enjoyably chaotic, even if the lack of online options is a bit of a lost opportunity. Aside from a disconcertingly phallic end-of-level sequence that's as unskippable as it is frequent and overlong, everything about Rayman's arrival on PC is slick and joyful. Origins is a rare and hefty slab of uncompromised pleasure.

What's new is old again. The trademarked 'HD-2D' art style of Acquire's likeable JRPG tips its hat to its publisher's rich genre history while acknowledging technical advancements since Square’s 16-bit golden age. Combining pixel art with contemporary effects—shallow focus, bokeh, real-time lighting and shadows, slightly excessive bloom—it's an immediately distinctive look. As a fusion of past and present, it works very well...up to a point. And, well, I'm sure you can see where I'm going with this. Octopath Traveler’s main hook isn't entirely new. The idea of a multi-stranded tale with several protagonists harks back to Dragon Quest IV, though that had five heroes rather than eight, and managed to tie its narrative threads together more effectively. This is more like eight different stories that occasionally—and awkwardly—cross paths. However, here you can choose who to begin your adventure with, whether it's a thief chasing a rare treasure, an ageing sellsword looking for a face from his past or a homebody merchant who's simply seeking adventure. Each has an individual skill that can be used in interactions outside battle: hunter H'aanit can goad NPCs blocking your path into fights, while axe-wielding apothecary Alwyn uses his friendly demeanour to coax useful information out of villagers. For some characters, it amounts to little more than pressing another button rather than 'talk', but others involve an element of chance. The light-fingered Therion can pickpocket valuable kit, but if he's caught then the locals will no longer trust you. Though since this can be reversed, it's usually worth the risk. You'll play through the first chapter of your chosen protagonist's story, before heading out into the wider world to recruit the others to add to your party—after playing the first chapter of theirs. On paper, this approach promises more flexibility than you really get. Once you've made your choice, you'll inevitably follow one of two routes to the closest allies, and from then your path is all but determined. To get through the toughest challenges, you'll need everyone up to speed, so you can't realistically pick and choose whose stories you follow. And after a while the recommended levels for each area—to which it's wise to pay heed—only narrow your approach further. Still, if it never really feels like a journey you have total control over, eight characters make encounters thrillingly versatile. Again, it's a blend of familiar ideas made to feel fresh. As in the Square-published Bravely Default games, you can save up attacks for future turns, making them much more potent. And similar to the Shin Megami Tensei games, it's all about finding individual weaknesses and exploiting them to 'break' your opponent. Each one you face has a number of shield points, and once that’s whittled down to zero, they'll be stunned, letting you line up devastating combinations when their defences are down. In the field, you can experiment with different tactics, refine them against the rank and file in the various dungeons, and then try them out against the monsters (human or otherwise) at the end. Although some of these fights drag on a bit—and one or two in the late game can only really be beaten by using very particular strategies—this is where Octopath Traveler is at its best. Your characters retain their ‘chibi’ style even in battle, while these enemies grow to towering stature: a visual quirk that takes some getting used to, though it soon feels like a clever way of emphasising the threat you're facing. Though sparsely animated, these giant sprites are beautifully drawn, while the vivid effects that accompany each attack and Yasunori Nishiki's brilliant battle themes make each one feel like an event. Over time, it grows into the kind of JRPG where you can happily spend hours tooling around with the diverse range of skills and supporting abilities you earn from different jobs. Characters can assume secondary roles which play up their strengths or cover their flaws. Halving SP consumption for your most powerful spellcaster is a no-brainer, while the 'insult to injury' support skill means status ailments last an extra turn. Alwyn's 'hale and hearty' can give your tankiest character even more HP with which to aggro opponents, or you could pair that with gear that maxes your evasion stats and have enemies focus their attention on a hero they'll rarely hit. It’s a pity your party only really becomes a team on the battlefield. Outside it, the characters rarely feel connected, while potential conflicts are also conveniently ignored, even when two characters’ morals should theoretically be in opposition. Octopath Traveler gives us reason to care about the eight protagonists as individuals, but in failing to bring their stories together, it falls short of the classics that inspired it.