#REDSTAR ♪ ♫

What's going on with Windows 10? After the Windows 10 version 2004 update, something called the "Windows Feature Experience Pack" is mysteriously appearing under the "Specifications" section of the "About your PC" settings menu. However, there has been little confirmation as to what it's actually doing. Microsoft has not provided any official comments hinting at the reason for its existence, but we have a few ideas. On Microsoft's official "Available Features on Demand" website, the "Windows Feature Experience Pack" is listed there. Unfortunately, this also doesn't provide much of a clue as to why it exists. All we see here is a warning that informs readers not to remove it because it "includes features critical to Windows functionality." However, a primary belief for what this actually does is to give Microsoft the ability to update core software components through the Microsoft Store without having to go through the trouble of updating the entirety of Windows 10. This is useful for when Microsoft intends to make small changes to certain features and applications, allowing them to quickly roll out fixes and updates. There's also been speculation for quite some time that Microsoft has been planning to separate the Windows 10 UI and UX from the actual operating system itself. This would allow a "lite" version of Windows 10 to exist for testing functionality on varying types of hardware. If either of these possibilities is true, it's hard to imagine why Microsoft wouldn't be upfront about the usefulness of this feature. It seems like something Windows 10 users would be happy about, as it would reduce the frequency of updates to the operating system.

Half the size of Apple’s 96W USB-C charger Want to charge your MacBook Pro, smartphone or Nintendo Switch faster than usual? Aukey’s 100W PD Omnia USB-C charger is fit for the task while being remarkably small and cheap. Right now, it's on sale for $41.24 with coupon code BCK3LMY5. That’s about $14 off its usual $54.99 asking price. The Aukey 100W PD Omnia charger is compatible with USB-C devices that support USB power delivery (PD) and uses open USB PD technology to enable fast charging on devices like the MacBook Pro 16 and HP Spectre x360 15. Aukey claims the 100W Omnia can charge a MacBook Pro 16 to full battery in 1.8 hours or iPhone 11 to 50% battery in 30 minutes. The charger's 100W of power should far outclass the typical 15 - 30W fast chargers on the market. Aukey 100W PD Omnia USB-C charger: was $54.99 now $41.24 with code BCK3LMY The Aukey 100W PD Omnia USB-C charger is a small 54 x 54 x 30mm and is said to charge laptops like the MacBook Pro 16 and HP Spectre x360 15 to full in roughly 2 hours. It also works with smaller devices, like the iPhone 11, and has built-in safeguards to protect devices from excessive current and overheating. The 100W PD Omnia is also about half as large as Apple’s 96W USB-C charger, coming in at 2.1 x 2.1 x 1.2 inches (54 x 54 x 30mm). That means it's the perfect charging solution to throw in a bag without needing to play Tetris to make it fit.

game information: Developers:Intelligent Systems Publishers:Nintendo Release Date:July 17, 2020 Platforms:Nintendo Switch With Paper Mario: The Origami King, developer Intelligent Systems has once again found a clever new angle from which to explore its spinoff papercraft universe, pitting Mario against an army of origami adversaries who are hell-bent on bringing him into their fold. It has also revamped the series’ gameplay, shifting combat away from single-use stickers and cards and replacing the classic flat combat plane with a circular arena. While there’s plenty of charm here, there isn’t much meat to the mechanics, leaving players without many meaningful choices to make. The Origami King gets off to a good start, introducing the folded fiend King Olly as its villain. It’s a change that frees up Bowser and his minions to play a much more zany role, and for Intelligent Systems to deliver a more intriguing Mario story in general. The overall structure is exactly what you’d expect, however. King Olly has swaddled Peach’s castle with streamers, turning it into a Christo-esque prison, and Mario must find the source of each streamer and undo them to rescue the princess. Unlike the last couple of Paper Mario games, The Origami King has ditched the concept of individual levels in favour of one big overworld. This makes for a nice change, creating a better sense of continuity as you trek up into the mountains from Toad Town or ship out to sea. At the same time, your progression is still largely linear and signposted – you’ll only ever have access to one new destination at a time, and backtracking isn’t built into the design beyond the use of Toad Town as a hub. I don’t mind this as it helps maintain forward momentum and many of the destinations are quite large, ensuring there’s plenty to do, but it’s certainly not as open as it first appears. Unlike the last couple of Paper Mario games, The Origami King has ditched the concept of individual levels in favour of one big overworld. The world puzzles are all self-contained too, which is actually a big improvement from Color Splash. There, the Thing cards you needed to make progress were hidden across the entire world, creating frustrating roadblocks. Here, you’re rewarded for being observant and logical, not for finding the right point-and-click adventure-style combination of random objects. Most puzzles are solved with a combination of jumping, hammering, and a handful of abilities that Mario’s companion – Olly’s sister Olivia – unlocks, such as accordion arms to pull or hit things that are out of reach, and folding herself into towering elemental allies to do things like raise the ground itself or refill a lake with water. Intelligent Systems ekes quite a lot out of mileage out of this streamlined moveset. Toadally Charming Exploring the world is a lot of fun, as the landscape is always changing, and The Origami King offers a steady stream of palate cleansing curveballs, like fighting a giant Pokey in the desert, steering your party through treacherous rapids or popping into a quiet cafe to debate which minions are the strongest over a cup of joe. Some of these are more fun than others, such as the Shy Guys Finish Last quiz show, which consists of a series of mini-games that are more schoolwork than anything else, but the constant variety is appreciated. You’re also generously rewarded for taking the time to check every location’s nooks and crannies, and to prod any element in the environment that seems a little out of place. This is a game brimming with secrets, and a great deal of The Origami King’s charm is wrapped up in the hundreds of Toads that Olly’s folded soldiers have scattered through the kingdom. These Toads can be almost anywhere – that butterfly? A Toad. That bonsai tree? A Toad. That scrunched-up ball of paper rocking back and forth trapped in a living hell? You’d better believe that’s a Toad. Hunting Toads is one of The Origami King’s most delightful distractions, particularly because the snippets of dialogue that ensue are almost always offbeat, charming, and oh so punny. It’s not hard to see why Intelligent Systems decided to pepper the world with these collectables: they’re a great illustration of the Paper Mario series’ effervescent, self-aware personality, which is easily its best attribute. The Toads serve as more than just comic relief. They’ll also come and watch you in battle, gradually filling the bleachers around the circular arena and allowing you to see your overall progress at a glance. The Toads in the stands can be called on by tossing out coins, and will help you by hitting enemies, tossing items, or repositioning foes. The system isn’t as multi-faceted as the audience mechanics in The Thousand-Year Door, in which you had to earn their help – and occasionally had to leap into the audience to sort out a rock-wielding enemy – but then, that criticism of relative simplicity and shallowness applies to every aspect of The Origami King’s gameplay. Getting the Bop on Enemies Every time combat begins, Mario now stands at the center of a circular grid. For each wave of enemies you have a set number of moves you can make – either rotating rings around him or sliding wedges in or out. The aim is to reposition all the enemies so that you can either headbop down a line of them or hammer a 2x2 array, as this boosts your damage. Incorporating more overt puzzles into battles is a novel idea, and as you play you’ll learn new strategies to mani[CENSORED]te enemies into position, but it just isn’t compelling enough to be the system that drives a more than 20-hour game. The stakes are low too. If you can’t see the solution and run out of time, well, the battle will simply take a little longer to play out. Your opponents in The Origami King don’t really pose a threat – they’re simply an inconvenience to move past. Compounding this, your toolkit to do so is super limited, with only minor differences separating the assortment of hammers and boots. Those are what you’ll attack with 95% of the time, so there are few meaningful decisions required in what to use when. If the enemies are in a line you use an attack that does damage down the line, whereas if they’re grouped in two lanes you use a hammer attack. It's not rocket science. It’s not entirely one-note: occasionally, an enemy type will come along that shakes a battle up a bit, such as ghosts that disappear before you start repositioning them, cut-out soldiers that are in a chain and need to be folded back into one figure, or Ninji that reveal themselves to be log decoys if you try and hit them with a hammer, dropping on you from above instead. I also really loved one section which took place during a big brawl, so the battlefield had a mix of folded soldiers and friendly minions. Distinct moments like these are few and far between, however, and for the most part the combat just isn’t that interesting. I was forced to defend only every so often, making the timing-based blocking less important than it has been in other Paper Mario games. Mario does also have access to a handful of items he can use in battle, but not only do these feel underwhelming in terms of power, they adhere to the same patterns as Mario’s boots and hammers when it comes to when you use them. A Fire Flower, for instance, scorches enemies down the line, while the Tail hits four enemies in – wait for it – exactly the same spread as a hammer. Only the POW block and the occasional option to use one of Olivia’s elemental attacks breaks this pattern. That said, Intelligent Systems does attempt something more involved with The Origami King’s boss battles, which turn the tables and put the boss at the centre of the arena instead of Mario. Here you must shift the panels to create a path for Mario to follow from the outer rim in, stopping by treasure chests, panels that turn on special abilities, and so on before ending on an attack icon. While these battles rely heavily on trial and error, they’re certainly more interesting than regular combat – and the cast is more memorable, too. Only a Paper Mario game can build a set of bosses around anthropomorphised papercraft tools like scissors and rubber bands. Only a Paper Mario game can build a set of bosses around anthropomorphised papercraft tools like scissors and rubber bands. Even with this variation on the formula, however, combat is still one of The Origami King’s weakest elements, and the fact that it’s not tied to any kind of experience-based progression system makes battles even more perfunctory. Mario does grow in strength over the course of the campaign, incidentally, but it’s a nebulous process that’s tied into finding hearts that increase his max health… and also his strength. Go figure. Where’s the Party At? The Origami King has several vestigial RPG elements like this. You can buy and equip accessories, for instance, but they either represent linear improvements to your capabilities in combat or are tied to things like finding secrets, getting discounts at shops, or using confetti (which gives you the ability to patch holes in the world – think the colourless spots in Color Splash). There are no real gameplay choices here either, and I always had enough coins to buy every accessory as soon as it became available without having to go out of my way to earn more. Similarly, The Origami King flirts with a party system but ultimately steers well clear of making you decide anything there, either. Instead, there are several times throughout the course of the story in which Olivia and Mario are joined by a companion, but they’re played almost strictly for story and dialogue purposes. The amnesiac Bob-omb, for instance, is entertaining company but has no abilities outside combat. And when he joins you for a fight he’s fully automated and mostly falls on his face. Literally. The second companion, Professor Toad, fares a little better: he can dig for hidden treasures as you explore the Scorching Sandpaper Desert, but he also is only with you for a short time. I can’t help but wonder what The Origami King might have been like if it had a supporting cast that also served more of a gameplay purpose. Even so, it’s clearly evident just how much love and attention has been lavished on this papercraft world. Standout locations like Shroom City take the series’ visual design to a whole new level, while its tactile aesthetic has cleverly been incorporated into puzzles and secrets throughout the entire campaign. There are so many small details to enjoy too, like the way Mario brushes himself off after taking a tumble, or the joyous expression on his face when you nail a line of jump attacks in battle. And in a broader sense, so much of what makes this game – and series – special is Intelligent Systems being comfortable taking hard lefts with a world we’re all so intimately familiar with. To give you a few examples, in this game Mario takes part in a multi-part stage production, characters break into song and dance many times, we get some genuinely funny insights into what life’s like for Bowser’s minions, and Mario cosplays as other iconic Nintendo characters. These moments are the main attractions – the sense that anything can happen, and the breezy, irreverent way in which characters deal with whatever gets thrown their way. Verdict The Origami King is a truly likeable game despite the shallowness of its new spin on gameplay. Its characters are winsome, its visual design is gorgeous, its world is fun to explore, and its storytelling is outside the box and playful. At the same time, however, it could be so much more. Combat is largely unfulfilling, and your journey as a whole lacks meaningful choices. For a series with RPG roots, that’s a real shame.

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i will vote for DH2 Wonderful remix of a DJ snake known all over the world

Who’s a cute Huntsman? Bigger isn’t always better, and that’s why 60% keyboards exist. Some wouldn’t dare sacrifice a numpad or navigational keys in their best gaming keyboard. But die-hard gamers who need room to fling their mouse freely or minimalists seeking more desk space swear by mini keyboards. Razer, too, is now betting big on small keyboards with the Razer Huntsman Mini, released today. The brand’s first 60% keyboard (said to be a response to social media demand) the Huntsman Mini ($120 to start / as tested) also brings another first with it: The keyboard will feature the second generation of Razer Linear Optical switches that should be more kind to the ears of those preferring quiet mechanical switches. Razer Huntsman Mini Specs Design Razer says the Huntsman Mini is a response to social media demand for a 60% keyboard, especially since the release of the tenkeyless (navigational keys, but no numpad) Razer Huntsman Tournament Edition last year. With a chunk of keys missing compared to full-size keyboards, Razer’s taking a gamble, as this form factor will turn many mainstream users off. In my time using a 60% keyboard, I loved the extra desk space but was less productive outside of gaming, particularly due to the lack of arrow keys. But a 60% keyboard seems like less of a risk considering it’s coming as part of the po[CENSORED]r Huntsman line. Based on total dollar sales, the expensive full-sized Razer Huntsman Elite was the top-selling gaming keyboard in the U.S. from January 2019 - March 2020, according to The NPD Group. The Huntsman Elite (Razer’s original Huntsman keyboard) is one flashy peripheral, with boastful media controls and an RGB wrist rest. The Huntsman Mini has no space for such showmanship in its 60% form factor. Beyond its optical switches, this is a much different keyboard than the Huntsman Elite and strips things down to the bare minimum. Razer’s press materials for the Huntsman Mini weren’t shy in targeting the new keyboard against the Ducky One 2 Mini. Measuring approximately 11.6 x 4 x 1.3 inches, the Huntsman Mini is nearly identical in size to the HyperX x Ducky One 2 Mini (11.9 x 4.3 x 1.6 inches) and a little wider than the Anne Pro 2 ( 11.2 x 3.8 x 1.6 inches). Razer is offering the Huntsman Mini in black or Mercury (Razer talk for white). I opted for the white version for sheer variety. It’s both a blessing and a curse. With a rainbow wave RGB effect streaming across the keys’ thin font, the Huntsman Mini almost looked like a toy. At full brightness, RGB lighting flooded the spaces between the keys with a colorful glow. The playful font on the Esc, Tab and Caps keys didn’t help. But if you have a white mouse, like the Roccat Kain 200 Aimo or a white PC build, Razer’s Mercury hue is a delightful addition. At much lower brightness levels (10%), Razer’s LEDs offered a more digestible amount of color that only came through the keys’ letters. The Huntsman Mini has an aluminum plate topping a plastic base. Like with the Huntsman Tournament Edition, basically a tenkeyless version of this keyboard with Razer’s first-gen linear optical switches, we’re a little disappointed by the overall feel of the Huntsman Mini. While the plastic helps keep the keyboard delightfully and portable light, for $120-$130, we’d like things to feel more high-end. A subtle “Razer” inscription on the lip of the keyboard and “For Gamers by Gamers” patterned across the underside like a designer bag’s logos are nice touches though. For the higher price, you at least get doubleshot PBT keycaps. We’ll get to how these aided typing in the section below, but for look and feel you be confident they won’t gather fingerprints as easily as the ABS keycaps offered on some other Huntsman keyboards. The textured look brings a classic and professional touch to those with keen eyes. Razer boasts that the font used here is the thinnest available on PBT keycaps, thanks to proprietary manufacturing technique. It wasn’t an obvious record holder at first glance, but the thin font lends to discrete, bleed-free RGB with the right settings. And because the keycaps are doubleshot, this slender font won’t fade. By the way, the Huntsman Mini’s keycaps are interchangeable with standard keycaps, and Razer even sells its own doubleshot PBT keycaps in different colors. But Huntsman Mini owners will have to work to match the beauty and creative designs of the Ducky’s One 2 Mini keyboards. Besides the HyperX version celebrating Chinese New Year, there’s the unforgettable Frozen Llama version and a more office-ready Skyline SKU. Another luxury is the Huntsman Mini’s braided and detachable USB-C cable. Razer told me the cable is a nod to keyboard enthusiasts who would want to swap out the cable. Hopefully whichever alternative those shoppers pick will have a connector that fits perfectly in the chassis’ rectangular opening. With the Mercury version, the braided cable has a bright sheen. The Huntsman Mini also has two feet that flip out to 6 degrees or 9 degrees. Yes, you’re living without many of your typical keys here, but Razer had enough mercy to include a lot of side-printed functions. They’re legible from a normal seated distance, and when you hold down the Fn key, all lighting turns off except for those keys with a secondary function. You can also easily toggle through pre-made RGB effects, use media controls, do on-the-fly macro recording and activate game mode without opening the software. Typing Experience Our review unit of the Huntsman Mini uses Razer’s purple Optical Clicky Switches. In August, it’ll also be available with Razer Linear Optical (2nd Generation) switches for $10 more. The new linear switches are supposed to be quieter than the linear optical switches Razer debuted on the Huntsman Tournament Edition. For those not acquainted with Razer’s optical switches, the gaming brand introduced them with the Razer Huntsman Elite two years ago. Instead of actuating via metallic contact like traditional mechanical keyboard switches, optical mechanical switches actuate with the switch’s stem passing through a light beam. The goal is a smoother experience. Razer’s Clicky Optical switches specifically have 3.5mm total travel and actuate at 1mm with 45g of force. For comparison, Cherry MX Blue switches, which are also clicky, have 4.0mm of total travel and actuate at 2.2mm with 60g of force. But these optical switches feel more like Kailh Box White switches, which have 3.6mm of travel and actuate at 1.8mm with 50g of force. Long story short, the switches in our Huntsman Mini bring a clicky feeling typists will love while feeling a little lighter than clicky mechanical switches you may be used to. With Razer’s purple switches actuating at a shorter point than other clicky switches and requiring less weight to register, they’re fantastic for long-term typing that doesn't tire the fingers. Just like on the Huntsman, we loved the sound and resistance offered by Razer’s purple optical switches. From its light actuation to its pleasing thwock when bottom outing, they’re a lightweight alternative to something like a Cherry MX Blues, Kailh Box Whites or even Razer’s Green (non-optical) mechanical switches. You still get the feel of a tactile bump but, overall, these switches are light and crisp as a fall day. Larger keys like the backspace and spacebar feel slightly heavier to press but aren’t as wildly different as I’ve seen with other mechanical keyboards. The also make a similar sound to the other keys The Huntsman Mini uses the same doubleshot PBT keycaps found on the Huntsman Tournament Edition. This makes a heck of a difference over the ABS keycaps found in the Razer Huntsman and Huntsman Elite, and Razer even sells the same keycaps in various colors separately ($30). The Huntsman Elite’s ABS plastic keycaps felt less stable to me during testing than the keycaps here. Razer’s PBT keycaps feel solid without being clunky and more true to the over-$100 price tag. Compared to the doubleshot seamless PBT keycaps on the HyperX x Ducky One 2 Mini, the Huntsman Mini’s keycaps are rougher and have more wobble. Razer making its own PBT keycaps is a notable investment, as Razer tells us the tool required to make them is expensive. Razer’s showing some commitment to the keyboard enthusiast side of the mechanical market, where swapping out keycaps for a premiums is common. You can use arrow keys with the Fn key and I, J, K and L, but having to hold down two keys for use one arrow is a tough life for a writer like me. Those who work a lot of spreadsheets, meanwhile, will miss number keys. As mentioned, the keys on the Huntsman Mini felt more stable to me than those on the Huntsman Elite. This is partially due to the thicker keycaps but could also relate to the switches’ lubing. Razer told me that the Huntsman Mini keyboards use a better quality and quantity of lubricant than prior Huntsman keyboards for smoother travel and less noise (especially for the updated Razer Linear Optical switch) . When it came to typing, the Huntsman Mini’s clicky optical switches were an airy dream. I need a little adjustment because the keys are slightly closer together compared to the HyperX x Ducky One 2 Mini. On the 10fastfingers.com typing test, I first scored 104 words per minute (wpm) -- below my typical 110 wpm -- but quickly got to a point where I was averaging 120.5 wpm with 96.7% accuracy. That’s faster than my usual speed, which I attribute to the Razer switches’ shorter actuation point and lighter force required. However, my accuracy was slightly under my 98% average. Gaming Experience Linear gamers can get the Huntsman Mini with second-gen Razer Linear Optical switches in August, but the Razer Clicky Optical switches in our review unit were fit for gaming, too. At 3.5mm, they have notably shorter travel than rivals like Cherry MX Blues (4.0mm) or Kailh Box Whites (3.6mm) and actuate at an earlier point in that journey (1.0mm for the Razer versus 2.2mm for the MX Blues and 1.8mm for the Box Whites). What stood out more was what little force the keys required. With 45g of force (Cherry MX Blue is 60g, and Kailh Box White is 50g) needed to register a keypress, the switches were lightweight and sufficiently speedy for gaming. With Battlefield V, I noticed how quick the Huntsman Mini’s keys could actuate -- just a light touch got the job done. A satisfying click and the occasional dink across the aluminum top plate made for assured input. Very keen gamers will appreciate being able to actuate with a quick tap. And I could long-press a key, like W to walk for a long time, without bottoming out, which would be more exhausting. Like many mechanical keyboards, the spacebar on the Huntsman Mini is a little stiffer than the rest of the keys, but it’s less of a difference than what we've seen on some other mechanical boards. In Battlefield V, the spacebar made for a solid and affirming jump without feeling stiff. Razer’s PBT keycaps provided superior friction that prevented slipping, even during times of clamminess. It also helped keep my fingers in place and avoid accidental keypresses. When I needed to throw a grenade suddenly, I was happy that the keys were closer together than I’ve seen on some other keyboards. In general, the Huntsman Mini’s small form factor is good for first-person shooters, where you may move your best gaming mouse around frantically or make large swipes. It’s a more wrist-friendly solution than the tilting your keyboard, which you may have seen gamers do. It’s also just nice to have the extra desk space for a drink or snack that a 60% keyboard allows. The Huntsman Mini supports n-key rollover, and while it’s hard to press every key, I was able to record 42 key presses with an online tool. Razer is targeting the Huntsman Mini at eSports gamers and keyboard enthusiasts. During a press briefing, a spokesperson pointed to Fortnite fueling the growth of 60% keyboards, which the company claimed is now more po[CENSORED]r than ever. Outside of Fortnite, the vendor also believes 60% keyboards are more than sufficient for numerous other titles, including Dota, League of Legends and Starcraft. Razer admits that some games will require key rebinding but also sees mini boards taking off with CS:GO and Valorant, where gamers with lower CPI mouse settings need to make big swipes. Features and Software The Huntsman Mini has enough onboard memory to store a generous 5 profiles, launchable by holding the Fn and menu key. Razer’s Synapse 3 software lets you toggle through 11 pre-made RGB effects, including one that reacts to audio coming from your PC. You can also use the software to set per-key lighting effects, match lighting with other products using Razer’s Chroma RGB lighting and make profiles launch with linked games. Synapse is also helpful for macro recording and rebinding keys, important considering how stripped down a 60% keyboard is. The Hypershift feature gives keys a secondary function when holding down Fn. But you don’t have to download Synapse to tweak the Huntsman Mini. The side-printed functions include the ability to toggle through pre-set RGB effects and brightness, (including off), plus on-the-fly macro recording and Game Mode activation. You can even set your PC to sleep with the Fn and Z. Other 60% keyboards are more friendly to those who don’t want to download RAM-hungry software to control their keyboard. The HyperX x Ducky One 2 Mini, for example, allows per-key RGB customization without software. It’s not easy, but since the keyboard doesn’t have software at all, it’s the only way. Bottom Line The Razer Huntsman Mini is a successful launch into 60% keyboards for the gaming brand. Thanks to the premium feel of Razer’s Optical Clicky Switches and doubleshot PBT keycaps, the mini board is great for gaming and typing. The switches have a lightweight feel that don’t tire the fingers, while delivering a satisfying click. Linear fans will have to wait until August to see if Razer’s second-generation Linear Optical switches bring acoustic improvements worth the extra $10. Speaking of price, at $120 - $130, depending on switch), the Huntsman Mini is a pricey peripheral. The Ducky One 2 Mini can be found for as little as $100. Meanwhile, the Anne Pro 2 -- which makes the 60% form more accessible by offering arrow functions by tapping the right Windows, Fn, Ctrl and Shift -- can also be $100. But the Huntsman Mini lets you type on light beams. It’s a smooth and swift experience. Still, as far as the click and total travel go, you can get a similar feel from Kailh Box White switches. Elite gamers might leverage the shorter actuation time and lighter amount of force required. But if you’re purely after optical switches, the Razer Huntsman is the best balance between performance and price among Razer’s current optical offerings. Razer’s Huntsman Mini also comes with software that the Ducky One 2 Mini and Anne Pro 2 lack. And if you like your keycaps with prominent texture and zero sheen, the Huntsman Mini is a winner, despite stiff competition.

game information: Developers:Sucker Punch Publishers:Sony Interactive Entertainment Release Date:July 17, 2020 Platforms:PlayStation 4 Ever since Assassin’s Creed started leaping from ancient Jerusalem to renaissance Italy to colonial America and beyond, there has been a longstanding itch to see the open-world stealth-action series take on feudal Japan. Consider that itch sufficiently scratched with Ghost of Tsushima. Sucker Punch’s latest is an absolutely gorgeous adventure through one of history’s most strikingly beautiful landscapes, and that beauty is compounded by one of the best blade-to-blade combat systems the open-world action genre has seen. There are some stumbles when it comes to stealth, enemy AI, and a few general minor frustrations, but for just about every moment where Ghost of Tsushima falters, there are plenty more where it soars. Ghost of Tsushima is a fictional tale told with fictional characters, but it’s based on the very real invasion of Japan by the Mongol Empire in 1274 that began on the Island of Tsushima. You take control of Jin Sakai, capably acted by The Man in the High Castle’s Daisuke Tsuji, who starts off as a samurai before a disastrous battle against the invaders quickly teaches him that perhaps the honorable but restrictive ways of the samurai code might not be enough to deal with this new and existential threat. Ghost of Tsushima revolves around this inner conflict as Jin’s formative teachings push up against his need to save his homeland at any cost, and though it takes a little while to really get going, it’s a compelling struggle. Even if Jin himself isn’t the most charismatic of protagonists, his foil, Khotun Khan, played by Glee’s Patrick Gallagher, has charisma in spades. He’s one of the most memorable game villains of recent memory thanks to his soft intensity that is oddly calming despite his terrifying intentions. He’s extremely cunning, always one step ahead, and his presence as the “Big Bad” is a large part of why Jin’s 40 to 50-hour quest for vengeance works so well. Khotun Khan is one of the most memorable game villains of recent memory. As good as the English voice cast is, though, it’s a shame that Sucker Punch wasn’t able to find a way to have the performance capture match the Japanese voice acting as well. As a result, if you choose to play with the excellent Japanese audio track, which features the outstanding Kazuya Nakai as Jin, it comes off as a comparatively cheap dub with wildly mismatched lip flaps and facial expressions that don’t mirror the emotion in the voice. It’s not a huge issue as it’s still well worth playing in Japanese – and you have the option of enabling the beautiful Kurosawa Mode, which puts a film grainy black-and-white filter over everything to match the style of the classic Akira Kurosawa movies that Ghost of Tsushima so effectively pays homage to. I wouldn’t recommend playing the whole campaign in Kurosawa mode, as there are some quests that demand some color recognition, but it’s a great visual effect to turn on every now and then. What isn’t ever a bummer is the music. The dynamic score seamlessly shifts from quiet and ambient shakuhachi flutes during stealthy moments to thunderous taiko drums once blades start clashing; tense encounters are made even more palpable thanks to increasingly speedy strums of biwas and shamisens. Overall, it doesn’t matter what you’re doing – the music always fits and serves to enhance whatever emotion the gameplay and the cinematics are trying to evoke. Fight Like a Samurai Ghost of Tsushima’s combat is like a witches’ brew made with bits of the Batman Arkham series, the pre-Origins Assassin’s Creeds, Sekiro: Shadows Die Twice, and the entire library of Kurosawa films. And, as witches’ brews tend to be, the result is magical. Like all great combat systems, it’s simple to understand on a surface level: there are light attacks to quickly deal damage and beat out slower strikes, heavy attacks that deal more damage and can break through enemy guards, a block button to guard against certain attacks, and a dodge button to avoid the attacks that can’t be guarded. That probably all sounds familiar, but the glue that holds this combat system together and allows it to remain interesting the whole way through is the addition of the stances you can shift between at the push of a button. As Jin completes certain tasks, he’ll unlock new sword stances that each come with their own movesets, and, more importantly, their own strengths versus a particular type of weapon. The starting Stone Stance is ideal for dealing with swordsmen, as one charged-up stab attack can sneak through their guard and either kill them outright or deal massive damage. Later on you’ll learn the Water Stance, which uses slower but more powerful strikes that can break through the defenses of shield-wielding enemies. There are four stances total, and once you have access to them all combat will challenge you to not only identify the greatest threat at any given moment but also to swap to the stance that is best suited to deal with them, all while balancing the very real need to play defensively. When it’s at its best, combat in Ghost of Tsushima is fast, chaotic, tactical, and is true to the fantasy of being a lone hyper-skilled but outnumbered samurai. The little touches go a long way towards combat's exquisite feel The little touches go a long way toward combat’s exquisite feel, in addition to bringing a bit of visual spectacle. The on-screen HUD is minimalist and the camera always stays really tight so you can get an up-close view of the action; enemies have clear audio tells so that even if you can’t see them you know when to dodge or block; fatal attacks often end with Jin spinning around to face the camera while your enemy stumbles around with blood spurting out before finally keeling over. Even smaller still, defeated enemies will sometimes crawl helplessly on the ground desperately trying to escape you, you can wipe the blood off your sword, you can bow to pay respect to your opponent, and the list goes on and on. The best part, though, is that there’s no traditional level-based stat progression. When you get stronger in Ghost of Tsushima, it’s not because invisible numbers went up and now you deal more damage and take less when you’re hit; it’s because your techniques got better and now you have new, better ways of dealing with tougher enemies. It’s so incredibly satisfying. When you level up you might spend a point to unlock the ability to block a previously unblockable attack from spear-wielding enemies, or you could choose the ability to block arrows so you can better deal with situations where you’re surrounded by archers. Or maybe you’ll unlock the ability to make enemies flee in terror when you execute a perfectly timed Sekiro-esque parry. It’s fantastic because it means that you’ll never run into an area in Ghost of Tsushima where, all of the sudden, you’re getting one-hit killed by archers who you’d previously brushed off, or having to spend a week chopping away at the sword equivalent of a bullet sponge just because they’re arbitrarily several levels higher than you. Crucially, this removes the problem of being forced to grind sidequests in order to reach a certain level minimum in order to progress in the story, which is something that certain other games are notorious for. Impressively, Ghosts of Tsushima’s difficulty always managed to be appropriate no matter what point of the campaign I was at. Enemies do get tougher, and you do need to improve your gear by upgrading your sword, armor, and charms to meet the difficulty curve, but the stat improvements from gear always felt secondary to the skills that you’d accumulate, but and the challenge always felt fair. Even when I bumped the difficulty up to hard mode, which makes enemies more aggressive, it never took away from the lethality of my sword. On top of all of this, there are also the various tools and gadgets that you earn over the course of your adventure. As Jin gets more and more comfortable with bending his samurai code and using tools outside of his normal repertoire, his combat abilities also expand dramatically. He can use kunai much like Batman uses his batarangs to quickly interrupt or eliminate weakened enemies; he can throw sticky bombs to disorient a large crowd; or he can take out his trusty bow and land a headshot to bring down a heavily armored foe in one hitpotentially end the fight before it even begins. The sheer variety of ways to approach combat in Ghost of Tsushima is incredible. Stealthy Stumbles It’s a good thing that the blade-to-blade combat in Ghost of Tsushima is so good, because Jin’s ninja-inspired stealth does not hold up its end of the bargain. It works, on a very basic level, in all the ways that you’d expect it to: you can crouch-walk through fields of tall grass to invisibly sneak around enemy encampments, you can assassinate foes from above, and you can even buy upgrades that let you take out multiple enemies at once if they’re all foolishly clumped together. The problem is what happens once you get spotted. Enemies just don’t know how to handle it. What if you climb onto a rooftop? They don’t follow you, they don’t hunt you, they kind of just yell and throw shurikens. What if you suddenly break line of sight and crouch into a nearby flower patch that they can still clearly see? They just turn around, look elsewhere for a bit, and then blow their little alarm horns. It’s as if you do anything other than just fight once you break stealth, the AI just throws up its hands and shrugs. Jin’s stealth tools are also very rudimentary and don’t allow you any sort of creativity that might make stealth a little more exciting. They all kind of do the same things, just with different ammo types. There’s a wind chime that works as a distraction on a single enemy and a firecracker that works as a distraction for a group of enemies. Then there’s your bow that silently kills enemies, your longbow that silently kills helmet-wearing enemies, a dart that silently kills enemies and makes them puke blood, and another dart that makes enemies try to kill each other. There are also a handful of mandatory stealth segments which just boil down to finding the clearly laid out stealth route and occasionally using distractions to clear enemies out of the way. None of the flexibility and versatility of the melee combat is found in the stealth gameplay. By the late game I was taking five enemies out at the start of every fight, and it felt awesome every time. Fortunately, Ghost of Tsushima offers a way to make going loud right out of the gate just as advantageous as picking off a handful of enemies unnoticed, and it does so in the best possible way: by staying true to its samurai cinema roots. At the beginning of most combat encounters you can trigger a stand-off, which allows you to target one of your enemies in a classic showdown where you must wait for them to make a move to attack, and then strike with one of your own to take them down in one hit. If you nail the timing, that’s one fewer for you to deal with when the brawl begins. But that’s only the beginning: you can make these stand-offs a major part of your combat strategy by putting points into the stand-off technique and wearing armor that allows you to chain multiple stand-off streaks together. By the late game, I was taking five enemies out at the start of every fight, and it felt awesome every time. Of course, there is a risk involved with stand-offs: they’re absolutely devastating if you lose. Your health is drained almost nothing and you’re put in a position where you’re surrounded by all of the still very much alive enemies in the area. That risk gets greater later on as enemies start throwing in feints to try to make you swing early. It’s an all-around fantastic mechanic that not only fits with the samurai theme, but also takes the fun but typically disadvantageous tactic of just waltzing in through the front gate of an enemy encampment and makes it potentially just as rewarding as silently going through an encampment and stealthily clearing out a bunch of guards. Utsukushii Open-world games can often feature some of the most beautiful virtual landscapes there are, and Ghost of Tsushima is right up there with the best of them. It may not quite meet the promise of its 2018 gameplay reveal trailer, but this is still a stunningly gorgeous game. Every scene is densely packed with grass, trees, leaves, and flowers all gently blowing in the wind every which way you turn. The island of Tsushima is teeming with natural beauty, which makes it a joy to explore even if you don’t have a particular destination in mind. Sucker Punch’s design encourages exactly that, with traditional waypoints being integrated into the environment instead of a UI overlay. Following a plume of smoke will always lead you to something worth investigating; a tree with different-colored leafs off in the distance will always yield some sort of reward; and following a trail of Torii gates will never disappoint. It’s all refreshingly organic, much like how it was in The Legend of Zelda: Breath of the Wild, especially considering that even when you do set a waypoint from your map to head toward a specific quest or location, instead of following arrows on the screen you’ll follow the direction of the wind. Sidequests are interesting in Ghost of Tsushima because there are actually several different types. The first and most common are your typical garden-variety tasks called Tales of Tsushima, which are short stories that have Jin going off and being the good and honorable samurai that he wants to be by helping people with their problems. Though the stories and characters in these sidequests are largely forgettable, at the very least they don’t seem like they’re just being churned out and used as padding. These are often thoughtful enough to be more special than they might initially let on thanks to some often unexpectedly dark turns and occasionally interesting gameplay scenarios. One, for example, is really the only time where I was literally surrounded by archers and nothing else. They were all spaced out on different levels of two opposing cliff sides, making it a fun and unique challenge that’s not replicated elsewhere. Tales of Tsushima are more special than they might initially let on One level above that e Tales are multi-part, character-specific sidequests that basically span the entire campaign and serve to give each major character their own story arc. This includes Sensei Ishikawa, the renowned samurai archer searching for his missing student; Masako, a grief-stricken mother out for revenge on those who murdered her family; or Yuna, the thief who saved your life at the very beginning of the story and will do whatever it takes to save her brother from the Mongols. Each of these sidestories reflects an aspect of Jin’s own journey, and it’s very interesting to see both how they develop and the impact they have on his development. Some of the later ones that I’m not allowed to talk about due to embargo restrictions are especially touching and deal with some pretty heavy subject matter, with one in particular that makes exceptional use of Ghost of Tsushima’s scouting mechanic in a very clever and emotional way. Tales of Tsushima typically reward you with charms that boost a certain aspect of your character, allowing you to spec into specific character builds like stealth, tanky, or a focus on critical hits, and so on. In the early going these charms were a great incentive to complete sidequests, but once I had pretty much all the charms that were needed later on, these Tales of Tsushima sidequests lost much of their appeal from a reward standpoint. I lost the desire to seek them out. The Mythic Tales sidequests are some of the best moments in all of Ghost of Tsushima. Finally, there are the Mythic Tales. These are epic sidequests that have you hunting down legendary techniques or pieces of gear, and they’re obtained by listening to a musician tell the legend of whatever it is you’re seeking to earn, shown through some extremely cool animated sumi-e cutscenes. From there, they sprawl out to epic quests that each vary wildly in their design, but all are well worth playing through. Especially because their rewards are among the best boons you can get, whether it be the Heavenly Strike special move that has you channeling your inner Kenshin Himura as you dash through an opponent with a lightning-fast sword strike, or a new piece of high-quality armor that grants powerful perks like stand-offs having a chance to terrify enemies and cause them to run away. But even without those incentives, these quests are still some of the best moments in all of Ghost of Tsushima. My favorite thing about exploration, though, and something that I especially appreciate as someone who’s not typically big on collectibles, is that every major collectible has both a worthwhile reward and a fun mini challenge tied to it. I was always extremely eager to find new Bamboo Strikes, not only because they gave me more resolve (a resource needed to heal and use special moves) but also because I just loved doing the little button-press minigame required to collect them. Shrines are even better because in addition to being the only place where you can find major charms (which offer dramatic buffs and perks strong enough to potentially design a whole character build around) they are also the only areas that you’ll be able to find those signature Sucker Punch platforming sections familiar from the Infamous or Sly series. The minor collectibles, like Mongol artifacts, journal entries, sashimono banners, and pillars of honor, are less exciting – they only offer some minor cosmetic items or flavor text. But they are plentiful enough that they still provide some added value for trophy hunters – and at least Ghost of Tsushima makes hunting them very easy thanks to the ability to quickly fast-travel to any discovered point of interest on the map. After reaching the credits, I still eagerly put in another 15 to 20 hours to finish up. It took me between 40 and 50 hours to play through Ghost of Tsushima (it’s hard to say for sure as it doesn’t track your time played), which included completing all of the Mythic Tales, a complete liberation of Tsushima from Mongol control, all of the multi-part supporting character sidequests, and most of the of the standard Tales of Tsushima. After reaching the credits, I still eagerly put in another 15 to 20 hours to finish up the remaining sidequests (except one that is apparently bugged for me, but Sony says will be fixed in a pre-release patch) and find all of the collectibles in the hopes that the final reward would be worth it. It wasn’t, which is a bummer because there’s otherwise not much to do in the post-game – no New Game+ and no unlockable difficulties for a second playthrough. It’s a bit aggravating that even if I did decide to just play it again (in Kurosawa mode, for instance), you still can’t skip any of the cutscenes. Finally, can we talk about photo mode for a second? Because Ghost of Tsushima’s photo mode is the one of the best I’ve ever seen. Partially because the world is just so pretty that it lends itself well to being captured in its natural beauty, but also because of the unique touches that Sucker Punch added, like the ability to have animated background environments or to add a large selection of particles like leaves, fireflies, or even songbirds. You can change the weather, alter the time of day, add clouds, create a camera flight path to create short videos – and all of this on top of all of the essential photo mode options like exposure sliders and filters that have become standard. My one disappointment is the fact that the customizable emotions that you can put on Jin’s face could stand to have a little more… well, emotion. But nonetheless, Ghost of Tsushima’s photo mode sets a new high water mark. Verdict Ghost of Tsushima is an enormous and densely packed samurai adventure that often left me completely awestruck with both its visual spectacle and excellent combat. By steadily introducing new abilities instead of stat upgrades, its swordplay manages to stay challenging, rewarding, and fun throughout the entire 40 to 50 hours that it took me to beat the campaign. A few aspects are surprisingly lacking in polish in comparison to other first-party Sony games, especially when it comes to enemy AI and the stealth part of its stealth/action split. Still this is an extraordinary open-world action-adventure game that solves several issues that have long gone unaddressed in the genre, while also just being an all around samurai slashin’ good time.

DH1 DH2

Cryptojackers. Worms. Bots. Keylogers. It might sound like the plot of the next installment in the Star Wars franchise, but in fact, it’s just a short summary of the dangers of modern computing. All a type of malware, these nasty bugs can at best get on your computer and slow things down and at worst, expose your personal information to hackers that could lead to identity left and a lifetime of hassle. Fortunately, there are a whole host of malware fighters out there, including Malware Fighter from iObit. In its latest release – version 7 – it’s got even more power to deflect incoming cyber threats. Perhaps best of all, the software has gotten speedier. iObit says that their testing shows an increase of 300% on average from the time the software detects a threat till the time it removes it. As with most malware programs, this one always starts with a full system scan, and iObit says that this new anti-malware engine will get the job done 63% faster than the previous release. That engine also now has over 200 million threats tracked in its continuously updated database – an increase of 160% from the previous version. iObit has always been a strong fighter against ransomware and in version 7 that protection is incorporated into a Data Protection module called “Safe Box.” Users can store any files they feel need extra protection in the Safe Box. That box can only be opened using a strong password, so even if someone were to get control of your system, it would be impossible to open the files and hold them hostage for a fee. Other improvements include updates to the software’s browser-based ad-blocking feature, which now includes compatibility with the new Edge browser; the download-protection feature for browsers has also been beefed up and now works with Opera, Chrome and Edge as well as Firefox; and scanning of USB drives, when attached, has become more robust. “iObit Malware Fighter 7 gets a 160% larger database, which is continuously growing with our new technologies and Cloud Security in real-time,” Said Bing Wang, the Product Director of IObit. “It will help users prevent the ever-increasing new cyber threats. We also care about the user’s online experience to make sure users can have a clean and safe browsing environment. IObit Malware Fighter 7 aims to be an easy-to-use and effective PC protection tool.” Versions iObit Malware Fighter comes in both a free and a paid version. Using the free version gets you anti-malware protection; basic real-time protection against threats; the ability to block pop-up ads and stop cryptocurrency mining; and improved homepage and DNS protection. Upgrading to the Pro level for $19.99 ads many features to the software including enhanced protection against viruses and ransomware; webcam blocking; Safe Box functionality; and 24/7 tech support.

Better late than never, right? Spanish news outlet El Chapuzas Informatico claims that Intel will announce the company's highly-anticipated 10th Generation Comet Lake desktop processors on April 30. However, benchmark and review embargoes reportedly won't lift until the second week of May. Approach the rumored dates with a bit of caution since we have no way to confirm them. As we know from a string of test submissions to public databases, Comet Lake desktop chips will span up to 10 cores. This is certainly a first for Intel, but much of the chipmaker's shine will be overshadowed by AMD's Ryzen 9 3950X that offes up to 16 cores on a mainstream platform. That's not to mention that AMD has already transitioned to the 7nm node with its Ryzen 3000-series (codename Matisse) chips while Comet Lake is still on Intel's old 14nm process node. The upcoming Comet Lake chips will not only have to face the stiff competition from AMD, but they'll have an even harder time convincing consumers of their worth. Preliminary tray pricing shows that Comet Lake parts could be up to 12% more expensive in comparison to the previous Coffee Lake chips. This was to expected since Intel wouldn't just give away more cores for free. The premium on the additional cores is just the tip of the iceberg, though. Due to the power requirements, Comet Lake commands a new motherboard that will be built around Intel's fresh LGA1200 socket and corresponding 400-series chipsets. Although we've questioned Intel's decision in the past, this generation of processors might justify the motherboard upgrade. Early rumors from January suggest that flagship 10-core Comet Lake processor could pull up to 300W of peak power. The claims are credible as we've learned that the PL2 (Power Level 2) for that SKU is 250W. Months later, T-series chips, such as the Core i5-10500T and Core i7-10700T popped up in the SiSoftware database with peak power consumptions of 92W and 123W, respectively. These samples are unreleased silicon, so we should take the specifications with a bit of salt.

game information: Developers:Codemasters Studios Birmingham Publishers:Bandai Namco Games, Codemasters Release Date:July 21, 2015 Platforms:PC, Xbox One, PlayStation 4, Linux F1 2015 is the best version of itself on PlayStation 4, where developer Codemasters has largely lived up to the promise of current-generation hardware. It has excellent visuals and a seriously upgraded handling model that delivers some of the series' most authentic racing. But it's also a game that suffers from a lack of ambition, and some glaring omissions in terms of features, and broken multiplayer, with the result being an underwhelming racing game. Our F1 2015 PC review covers a lot of those shortcomings, but in a nutshell: F1 2015 lacks major features that were standard from F1 2010 through 2013, including the career mode that let you develop your driver over multiple seasons and engage in heated battles with your teammate for dominance. It lets you race just a single season as a real-world driver (either the 2014 or 2015 F1 season) who of course can’t grow or change as you play. The handling model is refined in some key ways, like how it simulate grip and tire wear, but the cars in F1 2015 don't feel as aerodynamically sensitive or as demanding as they did in some earlier editions of F1, even on full realism settings. If I didn't stomp on the gas too hard, and paid attention to my tires, I felt like the cars were almost driving themselves around the track. That wider margin of error took some of the fun out of it. That's the bad news, and while it’s a big downer that makes F1 2015 tougher to recommend than its predecessors, there's also quite a bit of good to talk about. To start with, it's a sharp-looking game, with gorgeous, lifelike cars and convincing lighting that changes with the weather (and without the soft-focus look that made the PC version so disappointing). More importantly, the performance was very smooth throughout my time on the PS4. F1 2015 is a pretty great drive on PS4 (notably better than the PC version) — it may lack the features of previous versions, but it offers also some extraordinarily authentic driving on the track. Tire degradation and grip are modeled better than ever before in the series, and that can make for some very special racing that tests every aspect of your race craft. The rock-solid PlayStation 4 controller helps bring this to life, too, with an incredible level of granularity in the controls. I felt like I was getting as much out the throttle and steering controls as I would with a racing wheel. Aerodynamic modeling doesn't seem nearly as good, however. Racing in close proximity to other drivers, in turbulent air, doesn't feel substantially different from being alone in clear air. That's a pretty major thing to be missing from an F1 sim, where the cars are all about aerodynamic downforce. Still, fuel economy and tire wear keep things interesting on the track, to the point where I strongly recommend doing longer races (25% length or higher). I've had epic races in changing weather conditions where I was forced to adjust my driving style on the fly to make new tire strategies work. Getting performance out of a dying set of wet-weather tires for a crucial couple of extra laps, then switching onto high-performance slick tires just as the track dries off, and going on a tear through the field is one of those moments where you feel like you know what it is to be an F1 driver -- if only for a few minutes. That feeling goes away a bit around AI-controlled drivers, who are way too prone to getting into your back tires. It was annoying; I'd be having a great run through a corner, then I'd hear a thud and my car would start to spin out from behind as another driver nudged one of my rear wheels like a cop making high-speed takedown maneuver. Sometimes it was my fault, because I'd over-braked heading into the turn and slowed down too much, but just as often it was an AI driver diving back onto the track after running wide, or getting on the gas too early. And once they hit me, I noticed they just seemed to drive through, ignoring the contact entirely. A much bigger problem is the fact that the PlayStation 4 version of F1 2015 doesn't seem to have working multiplayer. Every time I tried to join a session, after a lengthy search, I would get a message that I had failed to join. This happened regardless of what type of game I tried to find. It just didn't work, which is a pretty huge blemish on an otherwise strong F1 game. Verdict Though deeply wounded by a poverty of features and broken multiplayer, F1 2015 puts its best foot forward on PlayStation 4. Great controls really let the strong handling and grip models shine, and it looks great. It’s easier to recommend as a single-player game, though you’ll need to watch out for its bumpercar AI drivers. SYSTEM REQUIREMENTS: MINIMUM: OS: Windows 7 64 bit or Windows 8 64 bit Processor: Intel Core 2 Quad @ 3.0GHz or AMD Phenom II X4 @ 3.2GHz Memory: 4 GB RAM Graphics: Intel 4th Gen Iris Graphics or AMD HD5770 or NVIDIA GTS450 DirectX: Version 11 Network: Broadband Internet connection Storage: 20 GB available space Sound Card: DirectX Compatible soundcard Additional Notes: Supported Graphics Cards: DirectX 11 Graphics Card Required Intel: 4th Gen Iris or Higher, Intel Iris Pro Series AMD: HD5770 or Higher, HD6770 or Higher, HD7750 or Higher, R7 250 or Higher, R9 Series Nvidia: GTS450 or Higher, GT545 or Higher, GT640 or Higher, GT740 or Higher, GTX900 Series RECOMMENDED: OS: Windows 7 64 bit or Windows 8 64 bit Processor: Intel Core i7 4770 or AMD FX 9370 Memory: 8 GB RAM Graphics: Intel 5th Gen Iris Pro or AMD R9 290 or Nvidia GTX970 DirectX: Version 11 Network: Broadband Internet connection Storage: 20 GB available space Sound Card: Direct X compatible soundcard Additional Notes: Intel, the Intel logo and Iris are trademarks of Intel Corporation in the U.S. and/or other countries.

I have one question for you I want to know what you can do for the project

will DH2 is a great song but DH1 is amazing. the song lyrics are expressive the music is good nice rhythm so i will vote to DH 1

First you must participate in music contest This is a very important thing that you would like to join in devil harmonay team and like @#Em i[N]O' said : i vote to put your request in Pending

Well, your activity in recent days is impressive, but as Black Fire said, it is important that you participate with us in the music contest Participation in the competition gives you more opportunity to join with us But I will give you a chance #pro

The Surface Duo may be coming faster than we thought The Microsoft Surface Duo's release date is reportedly fast approaching. The highly-anticipated dual-screen device is coming to market months earlier than expected, according to gossip. With new clues surfacing, the rumors may actually be true. The first clue? Microsoft is now ready to administer Google's Android compatibility test on the Surface Duo, Windows Latest reported. This suggests that the tablet/smartphone hybrid will make its way to the consumer market soon. Microsoft is reportedly running compatibility tests on the Surface Duo's Android 10 OS The Surface Duo will run on Android 10, and Microsoft is poised to execute Google's Compatibility Test Suite (CTS) on the device. CTS is a tool used by engineers to help ensure that the software on their devices is compatible with Android. Manufacturers are required to pass Google's CTS to use Android's brand name for their devices; it's also a prerequisite for acquiring a Google Play license. It's also worth noting that Microsoft is planning to update the Surface Duo to Android 11 when the operating system comes out of beta testing later this year. Microsoft is providing a Surface Duo emulator to developers Another clue that the Surface Duo is fast approaching? The Redmond-based tech giant has disseminated a Surface Duo emulator for developers to test their applications on Microsoft's APIs, SlashGear reported. Zac Bowden from Windows Central got a hold of the Surface Duo and tweaked the bare-bones emulator to best simulate an end-market Surface Duo (though Bowden admits that his adjusted version is far from what the retail model may look like). Bowden showcased his tweaked Surface Duo emulator in a YouTube video demonstration, and with Bowden's quick hand gestures, viewers can tell that this pre-production Surface Duo is already pretty darn slick. With Microsoft Office, Bowden also demonstrated how apps can be dragged to the center of the Surface Duo and take up both screens instead of just one. Bowden described the Surface Duo's user interface (UI) as fluid and smooth, but of course, it's not perfect -- at least not yet. Bowden added that some apps are not yet compatible with the display-spanning gesture on the Surface Duo, which can cause some strange behavior from apps. Bowden demonstrated this with the Spotify app, adding that the music platform reacted better when it was dragged onto a single screen. The Microsoft Surface Duo, equipped with two 5.6-inch screens, AMOLED displays, a Qualcomm Snapdragon 855 processor and an 11-megapixel camera, could launch as early as August, according to some speculators. We really do hope the launch date is slated for next month -- the suspenseful wait for Microsoft's exciting dual-screen smartphone/tablet hybrid has been too much to handle.

Welcome to the Zen 3 cookout. Igor's Lab has some new information on AMD's forthcoming EPYC (codename Milan) processors. The site claims that fresh server chips are slated to replace the EPYC 7002-series (codename Rome) later this year. We already know from AMD's official disclosures that Milan, which probably adopts the EPYC 7003-series moniker, will undoubtedly debut with AMD's next-generation Zen 3 microarchitecture. Predictably, AMD will continue to tap TSMC's manufacturing abilities for Milan. Word around town is that the third-generation EPYC processors would benefit from the foundry's improved 7nm+ process node, but both the foundry and AMD have changed the name of the 7nm+ node, so that remains up for debate. According to the leak, despite being on a new microarchitecture, Milan will slot fine into the existing Socket SP3. However, Milan is the last wave of EPYC parts to grace the socket as its successor (codename Genoa) is expected to usher in the new Socket SP5. In regards to the primary leaked specifications, Milan shouldn't deviate much from Rome. The Zen 3 processors still max out at 64 cores, come with support for eight DDR4 memory channels, DDR4-3200 modules and high-speed PCIe 4.0 lanes. The specifications from Igor's report are for the A0 stepping silicon, meaning these are early engineering samples. While we don't expect the core or thread count to differ, the clock speeds will likely improve with the final silicon. The 64-core models (100-000000114-07 and 100-000000114-09) reportedly uses a 8+1 design, meaning eight Zen 3 Core Complex Dies (CCDs) and one I/O die. The 32-core model's composition, on the other hand, comprises of four Zen 3 CCDs and one I/O die. The 64-core SKUs apparently have 2MB of L1 cache, 32MB of L2 cache and 256MB of L3 cache. The 32-core part has halved of the 64-core's cache. At first glance, Milan has the same amount of cache as Rome. However, we already know from an official AMD presentation that the compnay has made significant improvements to the cache design on Zen 3 behind closed doors. On Zen 2, each CCD consists of two Core Complexes (CCXs), and each CCX has four cores equipped with 16MB of L3 cache. For Zen 3, AMD revamped the CCX to eight cores that are linked to 32MB of L3 cache. The new design aims to help eradicate latency and improve overall instruction per cycle (IPC). The 64-core and 32-core Milan ES samples allegedly boost up to 3 GHz. The clock speed isn't far off from Rome's maximum boost clock for 64-core and 32-core SKUs, which is 3.4 GHz. The combination of AMD's Zen 3 microarchitecture and TSMC's matured 7nm manufacturing process should give us Milan chips with equal or superior boost clock speeds in comparison to Rome. According to AMD's roadmap, Milan will come with a similar 120W to 225W package as Rome. At the current rumored clock speeds, Igor's sources claim that the 64-core and 32-core parts could have a 225W and 180W TDP (thermal design power), respectively. Milan might just be a simple refresh until Genoa lands at some point in 2021, however, it's a refresh done right.

GAME INFORMATION: Developers:Aspyr, Irrational Games Publishers:2K Games Release Date:March 26, 2013 Platforms:PlayStation 3, Xbox 360, PC, Macintosh, Linux BioShock Infinite aims so damn high – fittingly, since its alternate-reality 1912 city of Columbia literally floats atop clouds – that it’s a wonder it successfully hits any of its lofty goals at all. But it does hit them, again and again. A stunning original world of retro-sci-fi technology and gorgeous scenery. A cast of fully fleshed-out, memorable characters who deliver real emotional impact. A great villain and a greater monster. New and thrilling ways of traveling and changing the world around you. A story twist most people won't see coming. Even when it does occasionally miss, another hit follows so quickly that the stumble almost feels like a setup to increase the effect. Infinite comes through as a true, worthy follow-up to BioShock, one of the most-renowned shooters of this generation. In my book, it becomes one itself. Irrational Games – a studio that’s made a name for itself in eschewing predictability and is known for pathological cybervillains and brutish Big Daddies who earned our sympathy in their staunch protection of Little Sisters – somehow makes a city built on the clouds seem plausible. It's a place that feels alive. Townsfolk bustle in the plaza streets, birds flit about almost everywhere, and propaganda extols the local prophet's racist, ultra-nationalist beliefs. Columbia has its own history and hierarchy, to a degree that most shooters – or games of any genre, for that matter – can’t even aspire. It's created using a vibrant color palette and a unified vision of a twisted, jingoistic take on America. Simultaneously, no two of its many diverse areas ever feel alike. All these elements give this fantastical city a sterling sense of genuine place. This world is easy to buy into because its characters believe in it so convincingly, chief among them our player character, war veteran-turned-PI Booker DeWitt. He's a reluctant hero on a mission, vaguely referred to as a less-than-virtuous man with a shady past. The first hour chronicles DeWitt’s unusual journey to Columbia under orders to recover a teenage girl named Elizabeth so that he might “wipe away the debt.” Though he begins as both a bit unlikeable and mysterious, eventually Booker's backstory is fully filled-in and brought to a satisfactory end. Under your stewardship, he oscillates between doing good deeds and some clearly bad ones, but his words and actions eventually left me thinking of myself as a fan of the man by the time the credits rolled. Pleased to Meet You, Elizabeth It’s that inaugural hour – and in fact the few that follow it – that build the foundation upon which the rest of BioShock Infinite stands. Er, floats. Early on, thanks to the weapons, powers, and upgrades having new names but functioning in largely the same way, it’d be fair to call Infinite an elaborate, blue-sky reskin of the first BioShock. If that's a criticism at all, it's a weak one; BioShock's about as sound a starting point to build upon as a game could hope for, and Infinite has made the most of that. I'd put the artwork, meticulously crafted detail, and overall atmosphere of Columbia right up there with BioShock's Rapture, Half-Life 2's City 17, and Mirror’s Edge’s unnamed dystopian metropolis. Two things evolve Infinite past its predecessor, however, and the first is one of its central characters: Elizabeth. Our mystery girl rarely leaves your side once she joins you a short time into the campaign, and unlike the vast majority of AI companions throughout the ages, she requires zero babysitting. To the contrary, she'll take care of you, tossing you ammo and health in the heat of battle, randomly throwing you money at idle moments, and even bending the layout of a combat area to your will using her dimensional-portal-opening abilities. In firefights, that means you might have the choice to teleport in any one of a flying gun turret, a wall of cover, a powerful weapon, or a stash of medkits. It’s yet another option that'll affect how the fight plays out in a big way – a layer that makes Infinite’s combat so refreshingly nimble. The guns may not be wholly original, and the vigors may be familiar, but in concert with the Elizabeth wildcard and the open, large-scale play spaces, Infinite offers tangible, meaningful choices in each encounter. Elizabeth herself, in fact, plays a central role in BioShock Infinite’s story, and in the moment-to-moment experience. Once she’d established herself at my side, any period of separation was noticeable. Not only does the action revert to feeling very much like BioShock 1, but it made me feel as if something was genuinely missing: emotional depth. Over our time together, Elizabeth's expressive performances elicited everything from sympathy to fear and even guilt. She provides motivation and moves the story forward, and like the clear bond the Big Daddies and Little Sisters had in the first game, I was compelled to protect her. And from a purely mechanical perspective, it’s a half-miracle that she never gets in the way – but she doesn't. What's great about Elizabeth is that her presence always adds something, and never takes anything away. Booker and Elizabeth have a strong supporting cast to work with as well. Almost from the moment Booker arrives on Columbia he's antagonized by Zachary Comstock, aka “The Prophet,” who makes for an easily hateable villain both for his morally reprehensible views on race and for his oddly personal verbal attacks towards Booker over loudspeakers and other communiques. His level of evil and the ways in which he harasses you indirectly are something of a cross between the sadism of System Shock 2’s SHODAN and the mani[CENSORED]tion imposed by BioShock’s Andrew Ryan. Meanwhile, Booker’s most physically imposing opponent is the Songbird, the gigantic robo-fowl assigned to "protect" Elizabeth in a tower, Rapunzel-style. He is constantly in your rearview mirror, as it were, ominously threatening you each time he appears and giving chase in exhilarating running sequences. I wish he'd shown up more often, really – among all the players in Infinite, his is the arc that feels the least developed. That’s not to say his story isn’t satisfying, just that I was left wanting more. Drinkin’ and Shootin’ And what of the rank-and-file bad guys you’ll be shooting at? Some of them seem borderline comical, like the Patriot robots modeled after George Washington, who Columbia’s residents revere as a god. Then there are the Handymen -- intimidating 10-foot-tall proto-cyborgs who freaked me out the first time I thought I'd escaped them but, in fact, hadn’t. They’re much more agile than they look, even if they’re essentially bullet-spongy Big Daddies on PEDs. At least the AI is wise enough to use cover and the Skylines to keep you on your toes and even the odds. From the moment you begin fighting your first barely competent Columbia cops early on, vigors – nee plasmids – bolster your offense with potent table-turners like the target-zapping Shock Jockey or Charge’s directed speed burst. My go-to, Bucking Bronco, floats targets up in the air for a few moments, letting you pick them off like (paralyzed) fish in a barrel. Some vigors are essentially reskinned abilities from the first BioShock, and all are familiar from one game or another; the ability to charge them up to lay them down like mines is the only thing that really sets them apart, though I rarely saw fit to use their secondary functions. But they're a useful toolset, and odds are you’ll find a couple you favor above the others -- particularly in their impressively powerful upgraded forms. Since vigors are activated on the left hand while guns are held in the right, they combine with Infinite’s fairly standard collection of old-timey pistols, machine guns, grenade launchers, rocket launchers, and stat-boosting gear in unique ways. Prefer to step right out into the line of fire with a heavy weapon and the bullet-absorbing Return to Sender vigor? Do it. Would you rather bring everyone up close for a melee mashing with the Executioner shirt that adds a +60% chance for a melee critical hit? Feel free. Speaking of spitting-distance combat, I was particularly fond of the Skyhook’s melee attacks because of the gruesome executions they deliver. Similar in function to BioShock 2's drill, it's a vicious tool for snapping necks, boring into chests, and exploding heads into a bloody mist with its spinning rotor. It's a treat until the enemies get too tough to make it a viable strategy any longer, but I was able to stave off that time using stat-boosting Gear augmentations, the equivalent of BioShock's tonics now in the form of apparel. Specifically, in this case, I made ample use of the Deadly Lungers pants' tripling of my melee-strike range, making the guilty pleasure of those sadistic executions much more frequent. Infinite’s combat is nimble in the truest sense of the word thanks to its other great evolution: the aforementioned Skylines. Something akin to self-guided, one-man roller-coaster tracks, Booker is able to hook onto these metal rails with his Skyhook gauntlet and speedily navigate around Columbia's large open areas, often dangling perilously over the abyss below while moving from floating island to floating island. Riding a Skyline is surprisingly intuitive, useful, and perhaps most impressively, not the slightest bit scripted or disorienting. You are in full control at all times, to the extent that you're never forced into any significant encounters while you’re riding them. If you prefer to take the action to the ground, you can. Laudably, BioShock Infinite isn't so proud of Skylines that it wants to impose them on us for anything other than transportation. Dusty Old Boxes Having played BioShock Infinite on all three platforms, I've found that some of the combat system’s inherent versatility and wealth of options are restricted by the gamepad control scheme on the console versions. Oddly, only two weapons and two vigors can be hotkeyed at any given time (via a quick tap of the Xbox’s shoulder buttons or the PS3’s triggers). The rest of your arsenal is accessible, of course, but you must pause and go into a menu in order to get to them. That can break up the fun flow of an otherwise high-octane encounter, and picking the right tool for the job during the fight was something I found myself avoiding. As you might expect, though, this is a non-issue on the PC, where the number keys offer instant access to vigors. Aging console graphics hardware lets down Infinite, too. When the original BioShock debuted on Xbox 360 in 2007, it was an eye-gasmic wonder – a blissful marriage of Art Deco art direction with top-shelf graphics technology. Fast-forward almost six years, and Infinite is every bit as effective in the former area, but in the raw graphics department it fails to make anywhere near the same impact on either Microsoft or Sony’s box. It’s far from an ugly game (quite the opposite, really), but the low-quality textures, wooden NPCs (aside from Elizabeth), and occasional minor but noticeable framerate hitches are all maladies the first BioShock avoided. It seems Infinite’s stratospheric ambition is a bit too much, at least in the technology department, for the creaky hardware of the aging consoles. The PC version, as run on mid-range hardware, makes no such visual compromises, with gorgeous high-resolution textures, detailed faces, and smooth performance. Story Time (No Spoilers) Infinite’s layered gameplay carries it through much of the campaign, but eventually the story must close the fun loop and bring everything together. After the original’s mind-blowing “Would you kindly?” twist, you’re probably expecting a similar “Gotcha!” this time. Will I spoil it? Of course not. But will it come? Yes. Will it catch you off-guard? It got me, and I'll be surprised if it doesn't wow most people. The moment it happened was, for me, every bit as stunning as Andrew Ryan's reveal in the first BioShock. Unlike the vast majority of other games, Infinite's ending will give you something to talk about with your friends for hours and days afterwards. And mechanically, Infinite has clearly learned from the original BioShock’s big boss fight mistake, concluding in a much more organic, sensical way. Infinite deserves plenty of credit in its moment-to-moment storytelling too. Serious themes abound in Columbia’s alternate-reality 1912. Racism, sexism, nationalism, and religion are all put directly in front of you, whether you like it or not. It makes a point simply by confronting you with these uncomfortable issues and forcing you to at least think about them. And though Infinite never gets preachy, it certainly offers political commentary, chiming in with obvious nods to the “99% vs. 1%” debate -- even if, unlike in the original BioShock, Infinite slyly submits that both sides of the coin have their demons, and neither can claim the moral high ground in Columbia. To that end, Infinite skips out on any significant moral choices or multiple endings from the previous BioShocks. I didn’t miss them, though, as its story arc is both definitive and impactful while riding its own singular track. Still, the pacing seemed to plateau and flatten out for a chunk in the middle. The story’s delivery slows to a drip-feed, and the gameplay suffers from an exhausting stretch where the goalposts you’re barreling towards are suddenly and repeatedly moved back, ratcheting down the momentum. I wouldn’t say BioShock Infinite ever drags, but it does noticeably – and disappointingly – take its foot off the gas at times. That slowdown does let Infinite last for between 10 and 15 hours (depending on your appetite for exploration, which Columbia readily feeds and ably satisfies; it was the latter for me), but it does come with a cost. Given that this is a single-player-only game, is that one playthrough all you should expect? I'd say not – the 80 plot-buttressing Voxaphone recordings and other lore-lifting collectibles offer BioShock Infinite at least one more run worth of exploration, optionally while playing in 1999 Mode. Unlocked after completing the campaign on any difficulty, 1999 ups the challenge exponentially by severely reducing the amount of money available (and thus the number of times you can pay to revive when killed in combat), notably slowing down your shield’s recharge time, and of course making enemy attacks hurt more. Oh, and completely disabling the handy navigation arrow, which in normal play kindly stays off of your screen unless you summon it for a few seconds with a button tap. Verdict Going in, I had to question whether Infinite could live up to the BioShock name after having discarded its signature world of Rapture, with its Big Daddies and Little Sisters and warring philosophies, and starting from scratch. On the way out, I'm forced to seriously question which is the better game. In total, BioShock Infinite is a brilliant shooter that nudges the entire genre forward with innovations in both storytelling and gameplay. It trips over itself in a couple of spots, but not in any way that should keep you from embracing it with your utmost enthusiasm. System Requirements: (Minimum) CPU: Intel Core 2 DUO 2.4 GHz / AMD Athlon X2 2.7 GHz CPU SPEED: Info RAM: 2 GB OS: Windows Vista Service Pack 2 32-bit VIDEO CARD: DirectX10 Compatible ATI Radeon HD 3870 / NVIDIA 8800 GT / Intel HD 3000 Integrated Graphics PIXEL SHADER: 4.0 VERTEX SHADER: 4.0 SOUND CARD: Yes FREE DISK SPACE: 20 GB DEDICATED VIDEO RAM: 512 MB Recommended Requirements: CPU: Quad Core Processor CPU SPEED: Info RAM: 4 GB OS: Windows 7 Service Pack 1 64-bit VIDEO CARD: DirectX11 Compatible, AMD Radeon HD 6950 / NVIDIA GeForce GTX 560 PIXEL SHADER: 5.0 VERTEX SHADER: 5.0 SOUND CARD: Yes FREE DISK SPACE: 30 GB DEDICATED VIDEO RAM: 1024 MB

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