Sla1ace 最近的評論

is an extreme, strategic first-person shooter that portrays a current world wherein SWAT police units are called to stop antagonistic and defying circumstances. As a gentle reminder, please remember this game is in Early Access, and this review does not reflect that of the full released version.

The developers of Ready or Not – VOID Interactive have liaised with police groups internationally to make rules of commitment and a scoring framework that are both testing and practical. To drive the bar further with authenticity, ready or not models ballistic infiltration, weapon kickback, Kevlar, and plate elements – furthermore, it also utilizes a basic and natural control plot that will not have players bobbling around mindlessly. Boasting well over 60 items for the player to utilize however they wish, including weapon customizations that give you that “extra boost” in combat.

The gameplay aspect of Ready or Not is where the game truly excels – boasting quite possibly the best gunplay in the market at the moment. Every shootout that you encounter will be completely dynamic. With the games’ A.I. being painfully accurate, you can guarantee you and your friends will completely rethink your run-and-gun tactics on this one – as being reckless in the game will indefinitely punish you.

So take your time, relax, and explore a wide variety of tactics and options offered to you by RoN. Remember, experimenting is key, and this game has more than its fair share of replayability, reminiscent of that of S.W.A.T., which unfortunately lost its publisher earlier this year due to internal problems.

In ready or not, as opposed to many first-person shooters released this year and last, it requires a slower and more methodical approach to each situation, with no two situations being the same. Due to the hyper-realism of RoN, it’s easily done during a firefight to shoot a civilian with a stray round – causing you to restart your progress again and rethink your strategy and entry points. In doing this, VOID Interactive has successfully encouraged players to use, for example, non-lethal options under particular circumstances.

Whilst everything I’ve written prior to this has been all praise for Ready or Not, that doesn’t mean the gameplay is entirely issue-free. During my first playthrough, I’d noticed that A.I. could be annoyingly ‘clunky’ at times – this was more noticeable when breaching a room. The A.I. would constantly get confused and at times end up colliding with one another, causing me to have to restart the mission as a result of this.

I must confess one thing, Ready or not being run on Unreal Engine 4 doesn’t boast any noticeable improvements or mind-blowing graphical capability. But – that being said, it does its job, and it does it greatly so. Currently, during Early Access, Ready or not has six playable maps, each one incredibly different from the other – in terms of tactical approachability. They include;

Hotel
Gas Station
Farm
Car Dealership
Port
Crack house

These previously mentioned maps are crafted with maximum attention to detail and thought, which utterly immerses you in the beautiful worlds and scenarios you’re launched into upon opening the game. Similar to the maps, the sound design featured in ready or not rivals any given A.A.A. production – from the deafening sounds of a flash-bang ringing through your ears, to the fierce impactful sound of a gunshot, the sound design really benefits the realistic approach of the game.

The variety of gadgets in Ready or Not is insane. You get a large number of weapons, equipment that SWAT uses in real life. The richness and design of these weapons are so highly detailed that you and your squadmates are going to love that.

Ready or Not Weapon List

Secondary Weapons
Submachine Gun
Shotgun
Long Tactical
Assault Rifle
Grenade
Tactical Devices
Using the equipment for breaching a room is absolutely phenomenal, which gives you old SWAT 4 vibes. As soon as you enter the room shouting “Police! On your knees!”, The situation becomes so much realistic in front of you.

Ready or not is an incredible entry into the tactical first-person shooter genre. From carefully thought out and well-designed maps, to gameplay and A.I that rivals even the biggest of triple-A gaming companies, Ready or Not is definitely not a game to be missed if you even remotely enjoy playing F.P.S. games. Whilst this game is still in Early Access, this review will be subject to change upon the full release of the game. But – if the full game is anything reminiscent of the early access build, I’m sure it’ll be met with much, much more praise.

Ready or Not Review
Ready or not is an extreme, strategic first-person shooter that portrays a current world wherein SWAT police units are called to stop antagonistic and defying circumstances.

5/10
Total Score

I was Really Afraid for this Dev team have ♥♥♥♥ this game up. After they announced Trailer of this game, the game is really good low around Chernobyl which was in 1986, I am very interested in playing the game further and there are lots of things to keep track of in the game itself.

What I would like them to think about was to do a little more realistic such as, When you pick up a plant, he automatically takes off his back set. or if you open your Inventor, he takes the bag off and opens it.

a revolver, an ak 47, shotgun is in my opinion far too little weapon for this big world. I hope dev takes insight into adding more weapons at some point.

all in all, dev has done well.

it turns out that what makes Metro – a series named and known for its dark, subterranean survival-horror atmosphere – work was never really dependent on being underground at all. The third game, Metro Exodus, successfully brings its lengthy single-player campaign to the post-apocalyptic surface without sacrificing any of the series’ signature tension.

In an era where most first-person shooters seem to be intent on constantly upping the tempo, Metro Exodus is refreshing in its demand that you take your time. This is not a run-and-gun experience; it’s a stay-low-and-go-slow crawl through some of the most atmospheric and detail-rich settings I’ve ever experienced in a story-driven shooter. With a storyline that sidesteps the supernatural themes of its predecessors in favour of focussing on a more affecting human experience, and level design that affords you significantly more freedom without giving you too much room to relax, Metro Exodus feels like the full realization of this series’ potential. Picking up two years after the events of Metro: Last Light, the largely self-contained story of Metro Exodus follows the plight of main protagonist Artyom, his wife Ana, and a crew of surviving Spartan Rangers led by Colonel Miller as they set out from nuclear-war-ravaged Moscow in search of safe harbour aboard the train Aurora. That mobility brings a dazzling variety of settings we’ve never seen in a Metro game: their year-long, cross-continental journey ushers in a seasonal shift as you reach each stop, taking you from snow-blanketed sprawls of urban decay to sand-swept deserts and lush forest settings, each incredibly well-realised and populated by a healthy variety of deadly mutants and pockets of humanity both friendly and hostile.

These levels are also far more open than what we’ve come to expect from the previous two Metro games, but that’s not to say you won’t spend a considerable amount of time exploring the traditional dank underground corridors. Many story objectives still require you to descend into the sorts of dread-filled subterranea that the Metro series was built upon, and thanks to a generational jump in lighting effects and high-quality ambient audio they feel more ominous and claustrophobic than ever.


Up on the surface, the larger, sandbox-style levels relax the leash and let you sniff around with more freedom, finding enemy camps and abandoned houses that can be scoured for precious resources or diary scraps and audio logs which flesh out the fiction. But even when you’re out in the open, Metro Exodus finds ways of keeping your anxiety levels in the red by obscuring your surroundings with intermittent sandstorms in the Caspian desert level or introducing packs of snarling dogs in a forest valley section that can attack from any direction and have you frantically scrambling for higher ground. The day/night cycle also dictates that when the sun goes down, more mutants come out to surprise you on your way from A to B (it’s a cycle which, if you’re more risk-averse, you can manually shift by using one of the beds littered about the landscape). With all of those factors in play, Metro Exodus successfully manages to put you in wide-open spaces without ever giving you much room to breathe.Metro Exodus features incredibly detailed environments and exceptionally eerie sound design, but its strict minimising of intrusive menus and on-screen indicators is of equal importance as far as successfully grounding you in its world. Your next objective isn’t spelled out for you by a garish waypoint marker hovering on the horizon, but by the subtle swing in direction of the compass needle on Artyom's wrist. Similarly, there’s no map in the corner of the screen overwhelming you with areas of interest; instead, the flickering candlelight of a cabin in the distance was typically enough to pique my curiosity and tease me into an exploratory detour.


If the HUD elements in Metro Exodus were any more organic they’d be blended with wheatgrass and served as a smoothie. However, the one thing that does dent the immersion is that, despite reading out aloud the diary entries that open each level, Artyom is once again an entirely silent protagonist in Metro Exodus. It makes no sense to hear his voice one minute and then see him go mute when spoken to by other characters face to face, and even more absurd when they’re contacting him by radio from the Aurora when he’s out in the field. How do they even know he’s listening when he can’t even mumble a meagre ‘copy that’? If you’re going to do a silent protagonist you have to commit to it completely or it doesn’t work.


Metro Exodus does away with the ammunition-based currency system and weapons merchants from its predecessors in favor of workbenches that can be found in a handful of locations across each level and a backpack that can be used to craft certain items on the fly. Since the backpack can only be used to craft stealth-oriented projectiles such as crossbow bolts and throwing knives, and bullets and shotgun shells can only ever be created at workbenches or scavenged from fallen enemies one handful at a time, this system is still very much geared around conserving ammunition and making each shot fired a carefully measured one.
I found the backpack to be an invaluable addition to the Metro Exodus experience, particularly since it also brings with it the ability to swap out weapon parts without returning to a base. When night fell I was able to quickly swap the eyepiece on my sniper rifle for a night vision scope, for example. Or, if I found myself up against a more mobile set of enemies, it was always handy to tweak the components of my shotgun in order to increase its stability.

In fact, steady aim is more crucial than ever this time around since human enemies seem noticeably smarter, communicating with each other during a firefight and intelligently maneuvering around to flank. While you can still unscrew light bulbs or extinguish lamps in order to fill an area with shadows to hide in, if an enemy notices that a light goes out they will now come to investigate it. That keeps you a bit more on your toes even when you’re trying to play things safe. Metro Exodus still gives you ample opportunity to scratch your itchy trigger finger, though, since the covert approach goes out the window anytime mutants unleash their more erratic and hurried attacks and you invariably end up spending your hard earned, lead-based life savings within the space of a few panicked bursts from your assault rifle. There are also a welcome handful of special sequences that shift the pace considerably – such as a thrilling shoot ‘em up through an installation overrun by axe-wielding cannibals – so that you’re not experiencing the entirety of Artyom’s journey in a permanent crouch walk.

GREAT
Metro Exodus is the third game in the post-apocalyptic shooter series based on the novels of Dmitry Glukhovsky. Xbox One, PlayStation 4, Pc, Stadia 8.5 star from me
METRO EXODUS

You've no doubt heard that Deep Rock Galactic is like Left 4 Dead, if Valve's co-op classic swapped zombies for alien arachnids and took place exclusively in dark, confounding tunnels. That's more or less accurate, but Deep Rock Galactic's eponymous depth is more than just environmental. The breadth of approaches possible here makes Vermintide 2 look like Desert Bus, and frankly it's all a bit much for the first few hours.

An opening tutorial mission does a fantastic job of conveying the basics, though—this is your pick, use it to hack away at valuable minerals and carve tunnels. Right. Cool. Shoot the gun on the bad spiders—with you there. Call the M.U.L.E to you and deposit mined resources, press 3 to equip a zipline launcher and 4 to toss a rechargeable shield. Mine the required materials, dump them in the M.U.L.E., call for evac, then make it out through your own haphazard tunnel network before the dropship leaves without you. (Once the payload's on board your employers could care less about the fleshier elements of their workforce.)

This all makes sense within the confines of a friendly dummy run to get you up to speed, and in fact depicts a brilliant core loop that should feature in other 4-player first-person co-op games. I wish Vermintide 2 stole that brilliant dynamic shift of having to rush your way back out through a level, racing against a stern time limit and raising the stakes to absolute failure if you don't make it out in time. I wish there was more of Deep Rock Galactic's resource harvesting and persistent upgrades to Left 4 Dead, to punctuate all that mowing down walls of groaning undead and carrying the odd gas cans to and fro. And asymmetrical class-based co-op is always a treat when it's balanced this thoughtfully.

It's a fascinating proposition, and Ghost Ship Games deserve the dedicated fanbase they've found through Early Access by marrying such demanding elements as destructible scenery, class-based co-op and procedurally generated cave networks. That's not to say it's much fun for a newcomer, though.

No, for a newcomer the core loop is less about mining, fending off waves of acid-gobbing spiders and then legging it to evacuation in a heroic final act, and more about periodically getting lost, trying to make sense of the admittedly cool low-fi 3D map, and making it back to your teammates where you'll spend a golden 1-2 minutes feeling like part of the mission before getting lost again.

There are many prongs to this early game problem. One is the fact that every environment is not only destructible and procedural, but also demands that you deface it in order to reach lower levels where your more valuable mineral veins are inevitably located. There's just no way for a level designer to ease the pathfinding, so the onus is 100% on the player.

Another is Deep Rock Galactic's limited number of environmental identifiers in each biome—although more are still being added at a pretty fast rate in post-1.0 updates—which means one lugubrious cavern looks very much like another. In one of my first four or five missions I found myself walking around and around the same area which contained two large chambers of electrified blue crystals and the same variety of flower. I was never 100% sure whether I'd accidentally doubled back on myself.

If it feels like I've spent a long time on why I got lost so often, it's only because it's a lone, glaring issue in an otherwise massively enticing formula. And it's likely that many players won't permeate that barrier.

What encourages you to persevere is the sheer ingenuity of other players. The experienced ones, who've been down in these caves since early Early Access, have a knack for turning befuddling topography into fairground rides with three ziplines and some well-placed pick-holes.

The division of labour between Deep Rock Galactic's four classes—Gunner, Scout, Driller, Engineer—makes the spectacle of player ingenuity all the richer. In the same way you'd just stop and admire a particularly nifty sentry spot or teleporter placement in the early TF2 days, the engies here really show their worth with some well-considered defensive structure placements.

Having taken point on a wave of enemies during a thankless mission down the Crystalline Caverns as a gunner and taken the brunt of the assault alone, I returned to the Morkite vein we'd hit on minutes earlier. In the intervening minutes, the driller had carved a genuinely ornate staircase into the rock wall allowing access up there. Moments like that keep me playing Deep Rock Galactic.

All of which begs the question: does it work as a solo game? And the answer is a resounding "sort of". When you embark on solo missions, you're given a drone buddy, Bosco, to help with the shooting and reviving your nonexistent team-mates would otherwise be doing. Bosco, like literally every other facet of the game, however small, is upgradable, and he's also pretty competent down at the coal face. You don't feel there's something conspicuously missing when you play on your own.

But without watching and, most importantly, learning from better players, it's not the same game. There's little antidote to the frustration of getting lost and it takes longer to figure out what you should actually be doing as each class. It becomes a game about spending resources and trying to max out upgrade trees—honestly, you should see the one for the pickaxe—instead of the intrinsic enjoyment of mastering a hostile cave network.

Solo or with fellow humans, Deep Rock Galactic is as much a game about learning the hard way and reaping the rewards as it is about dislodging alien terra firma. As such, it's in danger of having many players simply bounce off it, but the hardcore who remain are rewarded with Mariana's Trench levels of depth.

THE VERDICT
A clear and distinct spin on 4-player co-op FPS with atmosphere, ingenuity… and real navigational problems.
class Percent for the game (79)

Aside from seeing Liberty Media’s divisive new F1 logo wedged into as many places as possible (and all the titanium thongs bolted to the current season’s cars) you could definitely be forgiven for not spotting a huge number of immediate differences between F1 2018 and F1 2017. With no real changes to the UI it feels like slipping into yesterday’s pants: familiarity and ease at the cost of freshness.

The recycled look doesn’t harm the on-track experience, but it would have been nice to see some meaningful tweaks to the presentation to coincide with the motorsport’s first rebrand since 1987. Some reused menus and rehashed commentary are one thing, but the fact we’ve been seeing the same garage interstitials and podium celebrations for four years now (since F1 2015!) is a bit rich. I think the celebratory hugs in the garage after securing a World Championship are new, but after that all you get is a picture of a trophy and it’s back to work. It’s baffling to me how quickly F1 2018 rushes through the act of attaining the ultimate goal of Formula 1.

Visual enhancements elsewhere aren’t quite as obvious – certainly at the speeds F1 cars tend to thread through these circuits – but they’re there nonetheless. There’s more granular trackside detail than ever before with pumped-up tree foliage, plus surfaces that better display their years of high speed abuse thanks to improvements to the lighting system. The spectrum of authentic lighting conditions in F1 2018 is great, from bright, blue days to low sun burning through the haze. Even gloomy, overcast conditions look fantastic as the sun struggles to beat through gaps in the grey clouds above. F1 2018 is an excellent-looking racing game, make no mistake.

Throughout each season in F1 2018 your driver’s contract can be renegotiated and, depending on how well you’ve been meeting team goals and your overall value to the organisation, you may be able to propose extra perks. These include things like marginally faster pit stops, or speedier parts development, but whether or not your team will accept your terms is a mini puzzle game unto itself (you only have three attempts to push a contract through before you’re forced to accept your team’s original, lower deal). It’s a decent little flourish to inject into career mode to help illustrate your driver’s value and deliver handy bonuses to us for our careers.

The improvements to F1 2018 since the already-impressive F1 2017 are largely incremental and often very subtle – and there are still a few areas where it’s openly coasting on previous efforts – but F1 2018 features the finest handling and force feedback for a dedicated F1 game to date, some welcome visual improvements, and a career mode that does a better job than ever at capturing the nuances of the world’s most-popular motorsport.

https://gtm.you1.cn/storesteam/app/737800/F1_2018/

Shredding through packs of monsters and elite enemies through swamps, deserts, and technologically advanced hallways is what drives Remnant: From The Ashes, and the progression loop is alluring. Whether you enjoy the satisfying burst-pop from a single-shot pistol or the steady damage from a beam rifle, Remnant gives you myriad options. Since each iteration of the world is generated from a different seed, procedural pieces snap together to create encounters and unlocks your friends may not see, making your first run fresh, mysterious, and inviting.

Starting off in a version of fallen Earth, the player must restore a fantastical and futuristic world. While the combat system in Remnant is a compelling beast all its own, much of the structure and framework in the title taps into From Software’s iconic Souls franchise, from critically timed dodge rolls to limited-use health items, checkpoints, fog-gated boss arenas, and boss drops to unlock new gear options.

Upgrading your equipment, traits, and active abilities is satisfying; I fell in love with a critical-focused build that increased crit damage along with tools to create a consistent barrage of critical hits. The first few times you face a boss and master their tactics are great, but too many use the “Well, here’s a big guy and lots of little guys” concept. Plus, none of the bosses are especially memorable, save for one errant bridge foe that may be a sly hat tip to Dark Souls’ Moonlight Butterfly.

The first trek through the world is the best and the most challenging, but Remnant is built for multiple playthroughs, enticing players to seek things they missed the first time around. Area after area, gun after gun, and boss after boss, your options continue to expand as you advance. Each playthrough’s seed comes with plenty of secret areas and a smattering of bosses, but you can’t do it all solo in one run. Instead, you’re encouraged to join other players to find additional bosses and special areas. You can always reroll the campaign over and over to find them on your own, but the game is substantially better with a little jolly cooperation.

However, the addictive nature of the title falls off hard after a couple runs; while there may be some secrets left to unearth, you just don’t have the incentive or drive to do so. After you understand the world's rules and layouts, subsequent runs only take a few hours. The mystery of what’s to come next gets handily demystified as you realize that Remnant has only a handful of potential boss fights in any given biome, and relatively few decisions to make.

Players pump points into traits, upgrade gear, and flesh out a bare-bones story hub that provides a marginal sense civilization’s fall and potential revival. Remnant delivers its story in conversations with random denizens and notebooks stuffed with lore. I’m a fan of this approach; the tale is out there if you want it, but it’s also completely skippable if you just want to cut deep into the meat.

Strong systems and a satisfying gameplay loop give Remnant: From The Ashes a powerful foundation, even if the experience is mired by repetitive and uninteresting bosses and environments. The first 10 hours are challenging and intriguing, leaving you voracious for more loot, more bosses, and more traits. After that, some of the wonder vanishes as you relive past glories rather than continuing to forge new ones.

Concept
Take on big bosses, level up, and loot in a fallen reality [u/]

Graphics
Some armor sets and weapons look great, but many of the models and environments are uninspired [u/]

Sound
Repetitive chirps and generic sound effects do little to suck the player in [u/]

Playability
Mastering gunplay and defensive tactics is critical and could be overwhelming for those not prepared for a fierce threats[u/]

Entertainment
Gobs of lackluster bosses and lack of any real endgame experience drag down a whimsical world full of secrets, challenges, and fun customization[u/]

Replay
Moderate[u/]

Result 8.5
Remnant_From_the_Ashes

You have to say that 10 Chambers Collective has done a good job of putting together a fantastic Hardcore game for all Elite players.

we start with the rundown to choose from, each level has its own challenge, where you have to collect key card and ammo, medpack, tool reefil pack, and lots of other things that you need to bring to these missions. Although the game is difficult to play as a solo, you are not bored as you become better at learning how to kill sleepers in the game. Each player has their own loadout with an Assusalt rifle as their primery and as a second shotgun

When I started the game, I could already feel an exciting start scene, where the game loads for the first time, the game starts as soon as you have chosen your rundown and where the cut scene is where the prisoners are clinging to each chair. cut scene is really good low where you see that they run down a cave.

the prisoners are released into a large cave where otherwise the game begins, and here the players must try to get out of the cave.

But the cave is not just big, the prisoners have to go out of lots of doors where there will be alarms or other challenges such as talking together about how they will kill sleepers or how they will defend their place if they open a door with alarm, dsv there is not much light down there and you must use light as you wear, however the player should be aware that the light can wake sleepers.

however, I did play the game in a good place and could feel that this game has a real awareness of me and others who play this. however, hope that 10 Chambers will make a customize character, where it was little possible to make your very own person, but it is to be hoped that it will come at a time. besides that, more experience will come as 10 chambers are making the game itself. the graphics themselves are high and you will not think that you bought the game. there is no fail on the sound. however, 10 chambers still need to be made to matchmaking.

Graphics 10/10
sound 10/10
game mode is not broke 10/10
environment 10/10

Do not recommend playing this if you are afraid of darkness or nightmares

https://gtm.you1.cn/storesteam/app/493520/GTFO/

It's the dead of night on the CSAT-occupied island of Stratis, and the peaceful darkness is about to explode into chaos. I'm leading one of two spec-ops teams on a mission to liberate the leader of a local guerrilla faction and return him to the much larger island of Altis. A British squad is in charge of the actual rescue. Our job is to cause as much trouble across the island as possible to distract the CSAT forces and give the British the opening they need.

Over the next hour, that's precisely what I do. Inserting by boat from the northwest coast, I head south and raid an ammo dump before cutting across to the eastern shore to destroy a heliport. Then my squad suppresses an enemy encampment from a hillside near the centre of the island as I swoop in from the west to flank them. Yet before we can regroup, my entire team is killed by reinforcements descending from the north, and the British still need more time to complete their mission. Alone, I rush to the southernmost tip of the island, where I blow up a fortified anti-air position before escaping by riding a quad bike back through the swarming enemy forces to the extraction point, where the boat takes me home.

Arguably the biggest complaint about Bohemia Interactive's post-Flashpoint games is that their campaigns haven't used the magnificent landscapes they create to their full potential. The first Arma's campaign was a hastily cobbled-together disappointment, while it took a certain zombie-survival mod to harness the austere and foreboding power of Arma 2's Chernarus. That Arma 3 uses half an island for just one of its twenty-odd missions is indicative of Bohemia's effort to resolve this ongoing issue. Indeed, taken as a whole, Arma 3 strives to make this deep and impenetrable military simulator series a more comprehensive, more engaging and more user-friendly experience. It isn't completely successful, but I had an awful lot of fun watching it try.

While Arma 3 was officially released back in September, the campaign has been portioned out in three substantial chunks over the last six months. Each chapter is a self-contained entity with its own story arc and theme; combined, they tell the tale of the excitingly named Corporal Ben Kerry and his role in the war over the fictional Mediterranean island archipelago of Altis and Stratis, waged between four different factions.

The first part, Survive, is geared towards introducing players to Arma. It takes place entirely on the smaller of Arma 3's two islands, Stratis, and sees Kerry banding up with a group of NATO survivors after the local Altian Armed Forces, backed by NATO's eastern equivalent CSAT, rise up against the local US garrison. For the most part, missions are small-scale skirmishes that keep you firmly in the "follower" category while teaching you the basics of minimising your daily lead intake. Rescuing a downed helicopter crew instructs you on establishing a defensive position, while a midnight liaison with local militia explains how to flank and clear buildings.

It's hardly the campaign's most spectacular stage. Story-wise, it's let down by voice acting that ranges from passable to cringeworthy and a script that understands military radio chatter but not how human beings interact with one another. Even here, though, Bohemia's approach to maximising the assets it has built is apparent. Missions are nearly always multi-staged, with objectives being added and changed as events rarely go according to plan.

While it smoulders rather than sparks, Survive concludes strongly and the momentum is carried over into Adapt, definitely the best of the three chapters. This introduces Altis, a masterwork of environmental design. I could write another 1000 words on its remarkable sights and sounds: its misty dawns, crimson dusks and streetlight-speckled nights. But what's most important is how the detail that's gone into mapping the landscape's undulations - the lumps and bumps, hills and valleys - plays into the game's combat. A little rise in the ground might be the difference between life and death as you throw yourself down in evasion of the fiendishly accurate enemy AI. When they stop to reload, you'll rush to locate a better vantage point, order your men to "find cover" (an extremely handy new command) and plant half a dozen bullets in your opponent's surprisingly tough body.

Tactics are vital in Arma 3, but it's terrain that really makes the difference between success and failure. It's crucial to learn this before Adapt begins, because the difficulty suddenly ramps up. The first mission sees you alone, unarmed and with a city full of enemy soldiers between you and any kind of safety. At this point, setting saves to unlimited using Arma's highly customisable difficulty levels becomes a necessity. Fittingly, after Survive, you will die many, many times. That said, it's important to note that combat is more satisfying than before thanks to improved animations, smoother weapon handling and better optics - meaning the challenge stems from your opponents rather than clumsy controls and slow-to-aim weapons.

Adapt also changes the way you play. It gives you a squad to control, which is a mixed blessing. AI units tend to be much more perceptive of enemy locations than you are and are especially useful when facing down tanks and APCs, but they also require a fair amount of babysitting to keep them alive, and the lack of changes to Arma's squad commands means this can be a chore. Especially problematic is AI ammo management; your teammates go through bullets like a swarm of locusts through a corn crop, and resupplying them in the field is a nightmare in Arma 3's clumsy interface.

Alongside its story missions, which include the brilliant raid on Stratis described above, Adapt also introduces an open-world component. From your base you can go out on "Patrol" and complete multiple optional objectives, from clearing enemy checkpoints to smoking out a sniper hidden inside a labyrinthine industrial complex, all while collecting weapons, ammo and equipment to use during the main missions - though the clunkiness of Arma's inventory management means this is less enjoyable than it should be. If you want to bring stuff back to base, you need to find a vehicle and load it item-by-item from your own inventory, while before each mission the game defaults to a standard equipment loadout and items you previously had can be lost in this process.

After the meatiness of Adapt, the final chapter Win feels fleeting by comparison, with only six missions to its name. But they're also the most spectacular, displaying vast, combined-arms battles that cover sweeping areas of Altis. It's strongly reminiscent of the opening of Operation Flashpoint, but with you in control rather than being led by an AI squad leader. In these closing stages you can call in devastating artillery strikes and helicopter assaults, simultaneously demonstrating the sheer destructive power of modern warfare and your own insignificance in the scale of things. Story-wise, it's also the most interesting segment, making unsettling use of its near-future setting and offering a branching conclusion that is fascinating, whichever direction you take.

Arma 3's campaign is a big, powerful, deeply engrossing thing, but there is one disappointment: its lack of vehicular missions. Since the story focuses on one not particularly interesting character who is ultimately a grunt, there are no tank missions, no helicopter missions and no jet missions. I can understand why, to a point: Arma's vehicles, especially its airborne offering, take time and effort to learn to control. Moreover, in these kinds of games infantry combat tends to be more enjoyable anyway. On the other hand, Flashpoint offered plenty of vehicle engagements during its campaign without any issue, and it's frustrating that, 13 years on, Arma's campaigns still lag behind it in terms of breadth of experience.

8 /10

Developed by: Crytek
Published by: Crytek, Koch Media, Deep Silver
Genre(s): Tactical, Action, First-Person, Shooter

Theme(s):Sci-Fi

In Hunt: Showdown, you don't win. You survive. After the tutorial, I was already on edge and sweaty. Nearly two-dozen hours later, I'm coming out of every round much the same, only with added exhilaration at my near-deaths, kills and cleverly executed traps. Crytek's merging of survival horror and battle royale has resulted in an intense multiplayer FPS, a great foundation that's only let down by a lack of variety—there's just two maps, and relatively few weapons.

Hunt blends Resident Evil 7, PUBG, and Red Dead Redemption 2 together to produce something that's remarkably distinct. The basics are familiar: players choose a loadout, spawn on a marshy patch of dirt and vie for supremacy. The twist is you're not alone, as zombies and other ghouls prowl these knee-high lakes and abandoned cabins. You're on a mission for one creature in particular, your bounty, and have to gather mystical clues to find their exact location.

Set in an alternate history 1890s, a horrifying force is invading through interworld rifts, infecting people and animals and turning them into terrifying mutations. Framed by centuries of mythology from multiple sources, the titular hunters partake in the dark arts and hunt for sport and research. The weaponry is crass and archaic: revolvers, single-shot rifles and crossbows, all requiring slow, manual reload. Machetes and battle-axes are available, if you want to risk the intimacy, and makeshift bombs and bear-traps are handy in a bind. Your greatest asset is your wits, and if you want to last out in the wilderness of Stillwater Bayou, you're going to need them.

My early forays were rough. One time a demented canine chased me right into an Armored, a human-shaped thing with a tumorous-looking outer shell, and in trying to escape I attracted a group of regular undead and was promptly eaten in seconds. The next round, I met a similar fate after successfully getting the first of three clues I needed for the bounty. Thankfully permadeath is disabled until rank 15 so I wasn't forever losing all my loot.

Gradually, I started to find my way, and understand Hunt: Showdown's allure. Proficiency lies cutthroat tenacity and the intuition of survival.

There's no room for hesitation, and through much trial and error I started developing a feel for monitoring how much noise I was making, and switching guns or healing on the fly, and always making sure I knew my exits. Soon, my trusty crossbow and machete and I were getting closer and closer to scoring our first contract, and one blessed night under Stillwater’s beautiful silver moon, I killed the meat-cleaving Butcher and escaped to tell the tale.

In the Mud
When you find the three clues, detectable using special vision called Dark Sight, you get the bounty's exact coordinates. Then, if you kill the target in a one-on-one, or two-on-one, or three-on-one fight depending on your group, you have to get to an extraction point at the edge of the map for full completion, which means getting by all remaining opponents as well as whatever hellspawn is still roaming around.

This inversion of the standard battle royale formula—it's about escaping, not killing everyone—is simple but deeply effective. It changes the whole complexion. Encounters against other players are more nuanced, sometimes coming with unspoken agreements. I helped a struggling rival kill a Hive—poisonous wretch—and after we just stared at each other briefly and parted ways. Ammo and supplies are in short supply, so picking a gunfight could severely deplete your inventory, and your only prize is whatever they're carrying.

Up to three players can enter the swamp together, and matches are limited to 12 total players. I mostly played solo, as in-game communication is limited and I preferred not having to worry about or rely on anyone. I could slip by six and seven-person shoot-outs with relative ease, letting them wear themselves out. The mix of mossy quagmire, high-grass forest and timber village allows a variety of approaches once you figure out the landscape.

Hunt: Showdown's primary issue is that by the time you've mapped out the bayou's hideouts and passageways and found a groove with your roster of hunters, a grind sets in quick. The map got repetitive, as did the relatively short list of weapons and three available bounties. After a time the only substantial unlockables are lore, which, though well-written and fascinating, isn't enough to sustain my interest long-term. It all just feels a bit lacking, especially given the price. That said, new options are in the pipeline, and I'm more than willing to get back on the hunt once they arrive.

so all in all, it's a game you really have to be patient with if you want to get to know the game

https://gtm.you1.cn/storesteam/app/594650/Hunt_Showdown/

Hunt: Showdown is a clever, hard-nosed FPS that doesn't have enough substance to be truly essential yet.

You have to say that Crytek has managed to make a game where the players have to work together to get the hang of it.

but the drawer is on the graphic itself. Since the graphics are still 480 quality and the very fact that one's computer is high, one has to wait and see if Crytek intends to make an option where player can make their own custom graphics.

besides that, I will come to my assessment about this game

Graphics 5/10
sound 3/10
too little content 4/10
All Game Mode 10/10

nice game. But its very hard on Mouse and Tastatur