Below are the 3 most recent journal entries recorded in fullversionload's InsaneJournal:

Sunday, October 24th, 2010
7:48 am	Download Starcraft II Full Version For Free Download here: Download Starcraft II: Wings Of Liberty Finally, it's here. No, not only StarCraft 2, but our overview of said game. It's been on the decade since StarCraft was launched, as well as the sequel has been anticipated for just as long. Now Blizzard, after many years of development and tens of huge amount of money, is bringing the sequel. And now we know today, the overall game doesn't break any new ground. What it can, it refine all the stuff that made the initial awesome, and in addition to that, it does it in stunning new visuals. Not forgetting the best single-player campaign any RTS provides. In StarCraft 2, the campaign centers round the hero, Jim Rainer, on a number of missions although the campaign which is called "Wings of Liberty", and is only the first of three parts - Blizzard intends to release others as sequels. Even though this may sound like a very bad thing, the campaign is of such top quality and it is lengthy enough to warrant its cost tag ($60, using the pc). The campaign is lengthy and that we won't be starting details here because it'll spoil plenty of it. Be assured, it's quality stuff. Gameplay wise, it's still exactly the same three races: Protoss, Zerg and Terrans, and also the gameplay mechanics are largely the identical: you construct your base, build units, and get into combat. However, because the campaign is indeed varied, you won't ever think that you're doing the same thing, and also the deep story drives the action throughout the campaign - as well as the impressive cut scenes. However, we had wished Blizzard took a few more chances and added a little more towards the gameplay, which, essentially, is like that old StarCraft. Multiplayer wise, it's every bit as good as before, and just as daunting as before, because there are many, many good players on the market. Luckily, Blizzard has deep integration with the new Battle.net, and there's a plethora of tutorials for the StarCraft beginner. Also, Blizzard has a system of creating sure you wind up playing against players over a similar level as you. However, there are some setbacks. For one, there is no LAN support, there's no cross-region support (which means you can't play against your Asian friends), and there is no tournament support either. Overall, StarCtaft 2, sans a few issues like missing features (LAN), is the sequel the StarCraft and RTS fans are already awaiting. The campaign and also the solid multiplayer offer a large number of hours or gameplay, and also the game comes with a high degree of polish. You cant ever go back to a situation of grace, they are saying. Regardless of what you attempt, some time and toil allow it to be impossible to reclaim the joy and sense of wonder you'd when things were new. As life-long gamers we'd be inclined to agree; there's just a sense that as time goes on, we be hard to impress - give to us new things or go away. Well, what it is said is wrong; with StarCraft II we've been taken back to a period when the RTS genre was obviously a joy; tightly crafted, challenging, yet accessible and entertaining. You're likely to hear a lot of lazy speak about how Blizzard has effectively just re-skinned and updated the formula that made the original StarCraft such a phenomenal success, but that's mostly wrong, and largely missing the idea Yes, one's heart of that old gameplay is here now, featuring StarCraft II's three finely balanced races, the rednecks-in-space Terrans, the hideous, alien Zerg, and also the technological/Psi-based warrior race, the Protoss. That is still a conventional RTS by which you'll gather resources, develop a base, develop your technology, and destroy the enemy but Blizzard took the formula which they perfected twelve in years past and trained with an astounding level of polish and refinement. StarCraft 2 review The first of which is totally new way StarCraft II's epic story is told. While StarCraft was famous for the great brief cut-scenes most of its story was told in-game via talking heads. It's often difficult for real time strategy games to have their narrative across and really connect missions with story. In StarCraft II, though, your ship - The Hyperion - can serve as a point and click adventure hub in four areas; the Bridge, the Cantina, the Armoury as well as the Laboratory. In between missions, you'll begin using these areas to speak to the motley crew you've gathered. And there's a hell of your story to be told here. It charts the fortunes of lead character Jim Raynor, as he fights to take down the despotic Dominion, survive the Zerg onslaught, and battle with his inner demons from losing his lover, Kerrigan (towards the Zerg swarm, where she survives because the Queen of Blades and plots the destruction of humanity). The highly polished interactive areas all have elements you are able to have fun with (our favourite may be the Cantina, with it's jukebox playing StarCraft versions of southern rock anthems for instance like Sweet Home Alabama and sweet Lost Vikings arcade game), but you'll eagerly return after each mission for your character conversations in each that drive the narrative. It's a tale told using a truly superb script and wonderful voice work (with music that are awesome). Everything would go to making you care that more to do with Raynor's battle to save lots of humanity. In addition, there's some narrative gameplay choice - much like missions requiring one to either side with, or against crewmembers determining whether they stick to you or leave, taking their technical advantages with them and changing the storyline. Everything just gives StarCraft II greater narrative depth, as well as further replay value. Free PC Game Downloads StarCraft 2 review This is a degree of love and polish that works its way into StarCraft II's gameplay in so many ways, elevating its way above core genre concepts. While stuff that RTS gamers could have gotten accustomed to in StarCraft II's contemporary genre stable-mates, (facing and cover aren't here), StarCraft II possesses his own nuances, like line-of-sight and rate of fire. And, there's countless RPG unit effects, like healing, splash damage, and the ability to slow your enemies. It's the versatility with the units you field that means it is such fun, with old friends like Marines and Siege Tanks joined from the transforming Viking or massive Thor Walker. There's a fundamental rock, scissors, paper mechanic to be sure, it's just you have several varieties in each category. But, when you begin to get a handle on it, things become second nature and that's when choice and play-style commence to deepen the experience. What's astounding concerning the StarCraft II campaign particularly, is simply how tight the mission design happens to be. We'd be hard-pressed to point out an RTS with as great a flair for this, or one which ramps up quite so well. It seems that Blizzard really took to heart the truth that it might effectively be re-introducing the genre to some whole new unsuspecting generation, but that, rather than dumb down the concept as others have, (yes, we're looking at you Command & Conquer 4), they chose to create a perfectly gentle curve that will both teach, and challenge. But old hands will not be left in the cold; they are able to either start the issue in campaign mode - have the AI turn ferocious on them - or try to get a number of the tougher Battle.net achievements. That 'something for everyone' philosophy also includes the large range of stuff you do; long gone are the days of just having RTS grind battles, and StarCraft II stretches the boundaries in each mission. The tutorials work since they each concentrate on skills you need to learn, like quick unit mobility, which can be mastered in chasing down convoys of Dominion trains, the bottom defence skills honed in a Night Of the Living Dead-style Zerg attack, or perhaps the mastery of Terran structure mobility when you flee across a burning planet StarCraft II always ensures you have the various tools for the position. In addition to unlocking units in-mission, additionally you earn money, and discover research points that can be spent in the Hyperion's Armoury on unit upgrades, or to hire Mercenary units. The research points are employed on the special tech tree within the Hyperion's Lab on special units or structures. An imaginative branching system here implies that when anyone options are made you overlook another, meaning we already want to return and play again to see what we've missed. StarCraft 2 review Other games may have streamlined, or totally removed, most of the RTS elements StarCraft II cleaves to, but, through the end with the game, you receive that old-fashioned feel of experiencing developed to amazing technology that you've really earned. And, additionally, you've been given a method to allow it to be your own personal. It's impressive how Blizzard has managed to perfectly balance the nostalgic need for the familiar, while giving us completely new items to engross inside us. Many can come to StarCraft II for that amazing story, but they'll stay for it's multi-player which is proving as addictive as the original; no mean feat given that StarCraft effectively became a national obsession in Columbia. A thing of warning, though; the campaign continues to be tailored to supply an entertaining experience, but within multi-player balance is king, most of the special unit's in campaign play slightly differently or aren't there whatsoever. But all three races, the Terrans, Zerg and Protoss are typical here and fully formed, being honed through the long beta just before launch. Battlenet is quite something to behold, even though there has been some minor issues, such as the voice chat not being ready at launch, overall it is really an impressive offering. (Comment on this)
Saturday, October 23rd, 2010
8:26 pm	Download Amnesia The Dark Descent Full Version Go here to download: Download Amnesia: The Dark Descent Full Version For Free Format: PC Developer: Frictional Games Publisher: Frictional Games Released: Out now Score: 9/10 "The only thing we need to fear is fear itself," Franklin D. Roosevelt once said, before being misquoted in just about everything. If Roosevelt were still alive, I know he would've made an addendum to his inaugural speech to include Amnesia: The Dark Descent. Or maybe he wouldn't have. Amnesia is approximately fear, in the end. It is the central premise. Pure, unadulterated, terror. Chill, icy fingers clawing at the rear of your neck type of terror, those of the creeping dark and Cthulhu, Hesselius, the home of Usher. It is a Gothic supernatural tale of crumbling castles, ancient artefacts and evil from forever. And fear. Fear of insanity, concern with the dark, concern with the unknown. Dozens of fears -from childhood to adulthood- happen to be deftly plucked from our psychs by Frictional Games. What we're given is really a masterwork of horror, perhaps the first game to ever capture the classics so perfectly, to construct something so vile with so much love. The sport starts with Daniel waking in Castle Brennenburg, a crumbling ruin full of echoes of the glory days; a dilapidated and macabre homage to Castle Dracula, and numerous other horror story locations. Daniel has amnesia. The very first clue he finds is really a note from himself, telling him to kill his mentor, a person who dwells in the furthest depths from the castle's basement. This - and also the fact Daniel is greater than a little unhinged - is all you're given. Creating a protagonist with amnesia is one of the most tiresome, contrived plot devices around. Not so here. It's performed startlingly well in the offset, with hardly any emphasis about the fact Daniel can't remember things. It is a device useful for discovery, to permit the ball player to discover the events for their own reasons, without a consistent inner narrative from Daniel to shatter the immersion. This one thing is worth high praise indeed. The story's told in fragments, via scattered notes, snatches of recalled conversation, and momentary flashbacks. These all gel with the game perfectly, never intrusive, never revealing a lot of, just brief glimpses into the world of Brennenburg before the ball player entered into Daniel's shoes. But it's Brennenburg because it exists during the game that is the real star. Simply tasked with reaching a mysterious 'inner sanctum', the journey through the castle is among exploration, of interpreting the remains of the castle, of uncovering the mystery for oneself. It's atmospheric to some fault, with all the rooms immaculately designed; fallen chairs clatter across the floor when you bump into them, rotting fruit sits discarded on shelves, broken walls and windows spill into corridors. Puzzles litter the location. None of them feel arbitrary. They're mostly physics-based, employing a perfected form of the mechanic Frictional explored within their Penumbra series. The left mouse button acts as you, with realistic gestures needed to manipulate objects. This is an amazingly tactile system; slamming doors, pulling beams, sliding open drawers, everything feels natural, organic and without complication. It adds that immersion you aren't getting by pressing a button. Lots of the puzzles have multiple solutions. There is one instance, for instance, where I'd to break open a big toadstool to obtain the spores inside. I jumped down and up about it once or twice, breaking the plant. A rock would've worked just as well, or perhaps the hammer and chisel I had during my inventory. To provide more of these solutions away would ruin the fun of discovery, but obviously there's plenty of room for experimentation. Taking care of of Amnesia that leaves no room for manoeuvre, however, could be the combat. There's none, in any way. That's not saying there's not enemies, mind you, as there almost certainly are. But Daniel doesn't have method of fighting back, and this can be a gutsy and rewarding move on behalf of the developers. Instead, all enemies need to be avoided through different means, whether it is from distraction, hiding, or just running as quickly as it is possible to. Some of the game's scariest moments stem from fleeing in terror, an unseen horror snarling at the back, thunderous footsteps the only real indication that they are still coming. You can not stop. Ensure stop. The only real respite is the fact that patch of darkness up ahead, where maybe you can hide and allow the monster to pass through. But Daniel doesn't such as the dark. This forms the crux of 1 of Amnesia's most interesting mechanics. The majority of the game is swathed in darkness. You have a lantern, with limited oil, and the ability to light candles and lamps with tinderboxes. Oil and tinder are found across the place, the previous in especially short supply. It offers an incredible balance of risk/reward; stay inside the darkness, that causes Daniel's sanity to drain, slowly sending him crazy as the screen blurs and eventually he goes mad. Or, spread slightly light around, at the chance of negating much-needed hiding places and revealing items that are best unseen. Looking at horrific events also causes Daniel to lose his grip, then there is nothing more heart-poundingly intense than crouching in a corner, observing the floor like a monster shambles past, knowing that sanity is draining every moment, but that if you research the face of one's aggressor it'll get oh a lot worse. Solving puzzles and making progress recovers Daniel's sanity, but it is a consistent battle for survival inside a dark, unyielding place. Amnesia is the type of game that might be cheapened insurance firms specific incidents detailed in advance. Most of them, the ones involving monsters at least, are largely unscripted or otherwise seem to be. I cannot stress enough the amount of farmville advantages of experience and discovery. Indeed, initially I actually got caught with a monster there is a faint sense of disappointment, with all the knowledge that i was aware of an amount happen next time. It wasn't enough to ruin the sheer, cloying panic that occurred if the next monster turned up, plus it was largely unavoidable, however it did dampen things slightly. Luckily this occurred a good way to the game, such may be the intensity with the drive for survival that Amnesia instils in its players. A lot of this really is right down to the utterly superb sound direction. As the voice acting itself is a touch sub-par in places (although not even close to awful), the ambient sound that gradually builds into a swelling crescendo of strings and bass, is pitch-perfect. The drip-drip of unseen liquid echoes through dank corridors. Chains rattle and sway in an impossible breeze. Somewhere around a large part, a low moan may be heard. Silent treks through empty rooms are punctuated by distant shrieks of agony in the castle's long-dead prisoners. One room particularly, well-lit and otherwise safe, was made all the more terrifying through the nearby barking and whining of hungry dogs. Would they appear? Did they? Questions best left unanswered. It isn't a lengthy game, and also to an extent this really is to Amnesia's benefit. Clocking in at between six to ten hours, it never outstays its welcome. Too much time and also the tension has on off. It felt, though, as though it could've benefited from one or two more set-piece sections. They're where the sport really shines, one particularly rivalling almost everything I've played in terms of inventive methods to scare the player. The ultimate quarter of the game isn't quite up to the conventional from the preceding parts, that is more a trapping from the horror genre itself than the usual flaw from the game in particular. It's still an amazing experience, however, as well as the occasional bit of dodgy acting or slightly obscure puzzle on the end does almost nothing to lessen this. With Amnesia, Frictional Games has established just about the most important horror titles with the medium, a game which a person with even a passing interest inside the genre would do well to experience. At night. With headphones on. The way it should be. Boy does Amnesia nail running away. It nails running away like Mirror's Edge nailed running away, which can be a damning indictment from the latter game, because it involved an attractive free-runner leaping and rolling with the rooftops of the futuristic cityscape, while Amnesia is all about a mentally unstable man fumbling doors open and squatting in cupboards. Then again, Mirror's Edge also gave you selecting fighting rather than running. Amnesia doesn't, which is among the bigger explanations why it is the scariest game I've took part in years. Amnesia's also unusual for a horror game, which like a genre tends to put horror first, panic second, creepiness third as well as the actual game fourth. With Amnesia, you're also getting an engaging first-person adventure game that may have stood alone had developer Frictional Games chosen to look this way. Amnesia's plot alone is intriguing enough. Getting out of bed around the stone floor of some ancient castle with no memory whatsoever except their character's own name ('Daniel'), the player's first discovery is definitely an oddly brief letter from Daniel to Daniel, telling him to descend to the castle's basement and kill a guy named Alexander. As you explore the castle further the plot thickens eagerly and ominously, with diaries, rooms and panicked notations all providing scraps of your much larger and more unpleasant picture. This exploring occupies the majority of the game, and it is made even more engaging through the same excellent grabbing mechanic Frictional used in their Penumbra titles. You click the mouse to 'grab' objects inside the world (a door, a boulder, a drawer), after which move the mouse to interact with this object in a immersive and intuitive way. It is a system that's as good for ransacking somebody's study as it is to turning some dusty, forgotten valve. Or, perhaps more relevantly, slamming a door in the face of a monster. But we'll arrive at that in a minute. It's not necessary to eat, that i feel is missing a trick. I loved fighting for clotted milk and sour vegetables in Pathologic. Physics aside, nosing around Amnesia's castle also holds your interest because it constantly gives you details, pick-ups, pieces of the storyline, surprises or varied environmental puzzles which frequently use that same grab mechanic, if not particularly imaginatively. But what the puzzles don't have any inventiveness they make up for in difficulty, with plenty of these sat in a sweet spot where they'll rarely stump you, but nevertheless have you feeling smart. If this physics-puzzler-mystery concept was expanded on, I know an awful lot of individuals may wish to participate in it. But clearly Frictional had other ideas. It requires balls to complete a horror game right. There is a belief that of the many recent high-profile horror games of late, Dead Space and F.E.A.R. 2 gave you adequate weaponry to level whole buildings, Resident Evil 5 and Siren: Blood Curse traded a few of their series' spookiness for additional gung-ho action, Alone At nighttime featured ludicrously overblown stunt sequences and Alan Wake gave its monsters enough of a weakness that they'd probably be eligible for disabled parking stickers. Scaring players is approximately a lot more than inserting jumpy moments plus a quivering string soundtrack in to a level lit like a seedy club. It's about too little empowerment and control, which is a reasonable acquired taste that no big publishers will fund it. Amnesia isn't just a game where you cannot fight the monsters. It's a game where you cannot go through the monsters. Doing this drains your sanity and enhances the chance they'll spot you. Sometimes this not-looking isn't a problem as the monsters are invisible, but in places oahu is the most horrible thing on the planet. Imagine it. You're hiding from your monster within the sole pocket of shadow in a room, and all sorts of you can do is stare at the ground. Free Full Version Download (Comment on this)
Thursday, October 21st, 2010
6:52 am	Download Mass Effect 2 for PC Go here to download: Download Mass Effect 2 Developing a genre-defining game is one thing many developers aspire to, yet actually achieving it makes a unique problem: what can they certainly next? When a title turns out to be so successful which it raises the bar for all others, the developer may either create another the same as it (potentially opening themselves as much as criticism for not innovating) or they could seek to modify and improve what they've developed to enhance the stakes higher. The issue using the second scenario is always that tinkering with something already great is really a delicate high-wire act-just one wrong move, also it all comes crashing down. It's understandable how the original Mass Effect was an amazing title. Although in no way perfect, the third-person, team-based space opera did a great job of combining action and RPG, while heavily infusing them with emotion and drama. It succeeded on a lot of levels which i awarded it optimum score-one of only two such ratings I've ever given. Unfortunately, though Mass Effect 2 still scores some hits when it comes to story and characterization, I can't believe the general design successfully negotiated the walk across that long, thin rope. Mass Effect 2 begins right in which the first left off, that is not saying that things are business as usual. BioWare has clearly made efforts to hear the complaints that players had last time, and there has been several big changes towards the formula. Some are substantial improvements-primarily, huge steps up with regards to graphics and presentation, together with more precise controls and upgraded AI/tactics for teammates. Certainly, these fixes are to Mass Effect 2's credit. However, the devs' attempts at addressing other complaints seem similar to wild overreactions than anything balanced or improved. As an example, players groused about exploring worlds inside the Mako, a skittish all-terrain armored vehicle that definitely needed use its implementation. Instead of adjusting it looking again, BioWare thought we would remove planetary surface exploration completely and replaced it having an incredibly tiresome (and necessary) "scanning" mechanic that has players passively combing planet after planet having a giant cursor. I could hardly consider anything more offensively dull. Mass Effect 2 Screenshot Another overreaction was the handling from the game's inventory, skills and upgrade systems. Within the first Mass Effect, the menus were unwieldy and prone to getting clogged up with excessive numbers of items. Rather than streamlining for improved functionality, BioWare again made a decision to strip the majority of scalping strategies away, replacing them barely-there, minimal-option skeletons. For players like myself who previously enjoyed the customization and depth from the team management, this can be a real disappointment. Although there are numerous of other bizarre, incomprehensible alterations that irritate, (Buy fuel for your ship? Guns lose infinite ammo? Same-room fetchquests? Easily-looped dialogue trees?) among my largest difficulties with Mass Effect 2 may be the aimless, fragmented feeling from the adventure itself. Without spoiling much, it becomes quickly apparent how the premise of stopping an evil force requires a backseat for the real main objective from the game: collecting teammates. I suppose you'll find nothing inherently wrong with this particular shift, but the way in which BioWare brought it to fruition was unsatisfying, and wildly off-target. Recruiting Mass Effect 2's eleven teammates (and fulfilling each one's "loyalty" quest) uses up the lions' share of playtime. This article will be correctly categorized as sidequesting in a of BioWare's former titles, but here oahu is the main attraction. The issue is by using such an enormous cast, there's barely time to get at know them in additional than cursory detail, never mind that every quest is separate and disconnected from your others. Relying on such content for the majority of play provides little feeling of forward progress or accomplishment, and no focus whatsoever around the enemy while Commander Shepard drives the intergalactic school bus. It is a shame, because every face has unused star potential, and crafting characters is definitely an area where BioWare trumps all others. To find out the overall game undercut its most valuable asset with excess is disappointing-I would've prefer to had half the cast and twice the depth, and more narrative missions during which to form a bond together. Besides the narrative weakness of a lot of underdeveloped characters, the new global emphasis on skirmishes can also be of interest. As mentioned previously, the teammate AI and combat mechanics are greatly improved on the first game, but things have (again) gotten overly enthusiastic. The architecture of all levels may be downsized to small, almost perfectly linear spaces that emphasize combat over exploration. Planetary hubs are actually reduced to large rooms, and although quite beautiful, most action areas are nothing more than unconvincing, glorified hallways. Mass Effect 2 Screenshot Negating all surprise, each enemy encounter is telegraphed miles away as a result of their presence being preceded by rooms filled with three-foot-high barriers and boxes that serve no purpose apart from to offer cover. Worse, many missions that seem interesting in as well as themselves have combat stuffed into them, even if it does not belong... I'm not sure if BioWare is afraid that it will not be able to keep the interest of the new audience with no a firefight spoon-fed for them every five minutes, but they're suppressing their natural strengths as developers by treading so close to Gears of War territory. Having seen these numerous missteps and changes, I'd become quite concerned that the elements making Mass Effect this kind of transcendent experience have been squashed in favor of an even more widely-appealing, simplistic, guns-focused identity. However, the sport made a significant shift after all the teammates was found-at which point I breathed a massive sigh of relief. While I'm sad to report that there wasn't much game left following the team was complete, what did remain was pretty superb. Taking time to explore Mass Effect 2's "hidden" missions scattered through the entire galaxy offered more intriquing, notable and engaging situations than the majority of why is in the first 20 roughly hours. Better still, BioWare returned to the main adversary and what Commander Shepard (and crew) necessary to accomplish so that you can win your day. By leaving behind the scattered "fetch this person" formula and getting back to saving the galaxy, everything kicks into feverishly high gear. It had been pure thrill to find out all of the dramatic, tension-filled elements missing in the adventure's meandering front-end return having a vengeance. Even though this last leg from the game wasn't enough to totally overcome the difficulties that came before, I actually do want to acknowledge that after the sport started doing what it really does best, my stomach was literally in knots as events played out. I held my breath, I painfully agonized over each choice forced upon me, and was compelled to shrug off lack of sleep, hunger, and sore wrists with regard to seeing the climax enjoy. When BioWare is on point, they may be on point. Few games can affect me to such a degree. Make no mistake, Mass Effect 2 still has the power to deliver blockbuster sci-fi like there is no-one to, however its developers should be aware of much better than anyone who you cannot tell a great story if you spend three-quarters of a game introducing characters. Players who can go beyond having less drive, annoying decisions, along with a general stripped-down, dumbed-down feeling can (thankfully) still anticipate some truly spectacular moments and unforgettable action before credits roll. Within my view, Mass Effect 2 is a definite high-wire stumble, but it is to BioWare's credit which they managed to make it towards the other part with the tent with their dignity mostly intact. Rating: 7.5 away from 10. Disclosures: Farmville was obtained via retail store and reviewed about the Xbox 360 console. Approximately 34 hours of play were devoted to the single-player mode, as well as the game was completed. Parents: According to the ESRB, the bingo contains blood, drug references, sexual content, strong language, and violence. Parents, let's produce a long story short-this is really a mature game directed at mature players, full stop. Nothing else needs to be said. Deaf & Hard of Hearing: You should know that there's an early on audio cue alerting players to hidden anomalies when scanning planets that has no visual display. Visual notification eventually does appear, but hearing players can get it first with less button presses. Bear in mind that you may have to actually scan a planet before getting this notification. In addition to that issue, I didn't notice any difficulty. The copious levels of dialogue are associated with subtitles, and every time you see an area full of boxes you know that a battle is originating up, so there aren't any audio cues necessary and need rest. Free Full Version Download (Comment on this)