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Sunday, October 31, 2010

Now Playing: The Ball


Great balls of fire! Or rather just one ball, sometimes on fire, sometimes submerged underwater. Most of the time controlled by you and your strange skull-shaped gun. Fighting gorillas! And skeletons!

The Ball, an Unreal-mod turned full game is about navigating through an underground city deep in the heart of Mexico, circa 1940, solving puzzles and rolling over baddies with said object. I'm probably not doing the game justice so you should click on below to check out the really awesome trailer. Like seriously shiny awesome.

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http://www.youtube.com/watch?v=caIYXaKp-qo&feature=player_embedded

Kinda' reminds me of Portal and that whole Companion Cube bit. 'Cept this is a Companion Ball that's far more useful. Also kinda' scary looking.

Just got me hands on the game. Will tell you how it goes.

FIFA Manager 11

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Exclusively on: PC
Genre: Sports Simulation
Publisher: Electronic Arts
Developer: Bright Future
GAME INFO
FIFA MANAGER 11 is the 10th edition of the franchise, featuring a vast array of all-new features. Hundreds of improvements to the game have been made across the board with a special focus on its core areas. Introduced last year it also includes a separate online mode where up to 8 players can play against each other over the internet.
The manager still has full control over the management of a football club. In the game you are responsible for the line-up, the tactics and the training of your team – as well as for signing the right players, improving the club facilities and the stadium. Special highlights are the FIFA 3D engine, more than 13,000 original player pictures, the player manager mode, the national team manager mode, the Create-a-Club mode and the Match Prognosis Tool.
FEATURES 
☼Line-up and Tactics - The tactics area in FIFA MANAGER 11 is completely re-designed and now offers a unique complexity. Target positions for every single player in offensive and defensive play can be set directly on the pitch (even in Full HD).
The manager can now also choose between several variations for goal and corner kicks. Various tactic presets and formations can be defined and easily selected before a game with just one mouse click. A new formation assistant guarantees optimal adjustment of the manager’s line-up in case of bans or injuries without permanent efforts of the manager. For beginners the new Tactics Wizard makes life really easy. Before its use every tactical option is explained in detail and the manager can make informed step-by-step decisions.
☼New Rating, Skill and Morale System - FIFA MANAGER 11 will use a new system to rate its about 40,000 players and to make the differences between the players more obvious.Every player gets a playing level for every position, and the skill differences between the positions will become a lot more realistic. Players will be more flexible to learn new positions, and experience becomes more important. The game also introduces a new morale system, which makes it more challenging for the user to keep a high morale for all players, especially in strong teams with a lot of competition between the players.
☼Transfer Market - For many fans the transfer window in summer has now become more exciting than the actual season. The realistic implementation of this period, surely the most stressful for any manager, is another focal point in this year’s FIFA MANAGER. This core feature of every football management simulation now confronts the manager with all the challenges real managers have to face. Players and agents will now tell you what they expect from you ahead of the talks and the AI clubs will become a lot smarter and use all the tactics we know from real-life, e.g. they make offers to players just to weaken the direct competition. Life at a small club also becomes much harder and if there is only a 1-year contract left it’s often only the decision between the money or an unhappy player for one last year. The clubs will now have long-term strategies and will immediately react if a season went not as good as expected.
The media pressure is a central challenge for managers with its regular gossip, talks about offers and contract extensions or news on unsatisfied players. There is even a newspaper archive with all the headlines and articles from the first rumours to the signed contract.
But the manager can also use the very nature of the press to his advantage. He can involve the media at an early stage of negotiations with his favourite players, by praising them or advising them to not extent their contract at their club, all to direct them to his own club later. Much like in reality, it pays off if the manager cares about new signings from a very early stage.
☼ Just Football! - FIFA MANAGER is well-known to simulate all aspects of club management. This year a new mode allows the user to just focus on teams and transfers.Other features that make the game more accessible are a new Search feature to find clubs, players and league data a lot faster and a new “Links Widget” to quickly jump to the game areas used most often.
☼Separate World Cup Mode - It is possible to replay the 2010 FIFA World Cup South Africa™ directly from the main menu. This is a quick game mode that takes 20 minutes to 2 hours to complete, depending on the manager’s success and love for details.
☼Community Wishes - FIFA MANAGER 11 comes along with a series of community driven improvements, e.g. a special presentation of local matches, new cup draws, the possibility to set the clubs for all “Found a Club” leagues, more transfers in last 24 hours before the transfer market closes, thousands of new lines of text in the Live Ticker, new FIFA player faces, youth player contract negotiations, and many other advances in practically all areas of the game.New pre-matchday screens give the manager additional information on the next opponent, important other matches, historic results and on the cities and stadiums.
☼Extended Online Mode - FIFA MANAGER 11 also includes an extended Online Mode which has been successfully introduced last year. Amongst other features, a new action-card system has been implemented, allowing even more direct influence on the match action.Other new features are a draft for youth players, new auction types and regular sponsor missions, which let the managers compete for bonus payments.
MINIMUM REQUIREMENTS
☼Windows XP SP3 OS: Windows XP SP3
o CPU: Intel Pentium 4 2.4 GHz or equivalent
o RAM: 1 GB
o Video Card: ATI Radeon 9500 Pro 128MB or greater, NVIDIA GeForce 6600 256MB or greater, Pixel shader 2.0 and above.
o Hard Drive Space: 8 GB available hard disk space
o Sound: DirectX 9.0c compatible sound card 
☼Windows Vista™ SP2 / Windows 7 OS: Windows Vista™ SP2 / Windows 7
o CPU: Intel Pentium 4 2.8 GHz or equivalent
o RAM: 1.5 GB
o Video Card: ATI Radeon 9500 Pro 128MB or greater, NVIDIA GeForce 6600 256MB or greater, Pixel shader 2.0 and above.
o Hard Drive Space: 8 GB available hard disk space
o Sound: DirectX 9.0c compatible sound card

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7GB

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Shank

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Also on: PS3, XBOX360
Genre: Action
Publisher: Electronic Arts
Developer: Klei Entertainment
GAME INFO
Electronic Arts and Klei Entertainment team up to bring gamers Shank, a cinematic brawler that mixes classic beat-em-up gameplay with the flair of some of the most iconic pulp movies of this generation.
Betrayed by the only family he ever knew and left for dead it’s up to Shank to seek revenge for the death of his beloved at the hands of the underworld’s deadliest assassins. Utilizing his knowledge of gang warfare and weaponry Shank must battle his way through the criminal underground in order to seek revenge against the people for bringing his world crashing down around him.
Shank immerses gamers in a side-scrolling, highly cinematic revenge story. With the ability to string together endless combos of mayhem and destruction and an array of blood-spilling weapons at your disposal, Shank seeks to reboot the 2D brawler and take it to a level of production never before seen.
Utilizing a unique 2D art style featuring diverse settings, unique visual effects, and the most fluid animation seen to date, Shank stands apart from its brawler counterparts and stands out in a crowd.
Shank was developed by Klei Entertainment and was nominated for “Excellence in Visual Arts” at the 2010 Independent Games Festival.
FEATURES
* Violent graphic novel art style: Step into a graphic novel with the most fluid and violent 2-D animation ever seen in a video game.
* Weapon-based combo system: String together endless combos of mayhem and destruction on the fly and pummel your opponents to the ground using an exhaustive arsenal of weapons.
* Gritty pulp cinematic experience: Using professionally animated cut scenes interspersed with gritty pulp-style story points, Shank tells a tale of guilt, redemption and revenge.
MINIMUM REQUIREMENTS
OS: Windows XP / Vista / Windows 7
CPU: Intel Pentium 4 (or equivalent) running at 1.7 GHz or greater
VIDEO: ATI Radeon X1800 GTO 256MB and the Nvidia GeForce 6800 Ultra 256MB cards
RAM: 1 GB of ram, 1.5 GB (Vista and Windows 7)
SOUND: Sound card compatible with DirectX 9.0;
HDD: at least 2 GB of free HD space

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Dead Rising 2

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Also on: PS3,XBOX360
Genre: Action Adventure
Publisher: Capcom
Developer: Blue Castle Games 
GAME INFO
Several years have passed since the Willamette incident, and while Frank West was able to save America from a zombie apocalypse, the cause of zombification was not completely contained. This led to continued zombie outbreaks throughout the United States.
Dead Rising 2 shifts the action from the everyday world of mid-West America to the glitz and glamour of Fortune City, America’s latest and greatest entertainment playground. People flock to Fortune City from around the globe to escape from reality and the chance to win big.
The game sees the introduction of former national Motocross champion, Chuck Greene, as the main protagonist. Before he hit the big time with a team and sponsorship behind him Chuck was forced to repair his own bikes, leaving him incredibly resourceful; a real handyman. A single father, Chuck dotes on his daughter Katey who, since the loss of her mother, he will do anything for.
With hundreds of zombies on screen at any one time, the original Dead Rising forced gamers to turn the everyday objects they found in the Mall into improvised weapons capable of fending off attacks. Dead Rising 2 promises to increase the carnage with even more zombies intent on feasting on human flesh and countless new objects with which Chuck can make the undead dead.
FEATURES
* Sequel to the critically acclaimed and 1 million+ selling Dead Rising: Dead Rising 2 is bigger and better in every way, adding new custom combo weapons, multiplayer and thousands of zombies on-screen at once!
* Thousands of Zombies On Screen: The undead are everywhere creating a dynamic and challenging zombie-killing experience for the player as weapons will be created to kill massive amounts of zombies at one time!
* Combo Weapons: Players can combine two everyday items using duct tape to create the ultimate zombie killing creations such as the Portamower and Paddlesaw. Unlocking combo cards along the way will give players the advantage as the helpful cards will show you what items are best for combining.
* New Storyline and Characters: A new protagonist, Chuck Greene, must save his infected daughter, clear his name, and survive 72 hours in Fortune City.
* 2-Player Co-Op: Online co-op play is introduced to the Dead Rising universe for the first time as players can invite their friends to partner up with them at any time to take on the zombie massacre- tag-team style! Killing zombies with a friend is always more fun!
* 4-Player Terror is Reality: 4 players compete in a gladiator type TV show named Terror Is Reality that pits zombies against a group of players in the ultimate Vs. multiplayer blood bath
MINIMUM REQUIREMENTS
* OS: Windows Vista®/XP, Windows 7
* Processor: Intel Core 2 Duo 2.4 Ghz or better, AMD Athlon X2 2.2 Ghz or better
* Memory: 2 GB RAM
* Graphics: NVIDIA® GeForce® 8800GTS or better, ATI Radeon™ HD 3850 or better
* DirectX®: DirectX® 9.0c and DirectX® 10 (Enhanced for: DirectX 10, 64-bit, multi-core)
* Hard Drive: 8.5 GB free hard drive space
* Sound: Standard audio device 


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The End of Moral Realism? (Part 2)



This post is part of my series on Steven Ross's article "The End of Moral Realism?". Part one is available here.

The purpose of Ross's article is to make the case for metaethical constructivism. He does so in a roundabout kind of way by first suggesting that traditional metaethical debates are too heavily focused on moral ontology and not enough focused on moral justification, and then suggesting that traditional metaethical theories such as realism and projectivism are ill-equipped to answer the justification-question.

Last time out, we considered Ross's case against different forms of moral realism. In this post, we will look at his case against the different forms projectivism.


1. What is Projectivism?
Unlike the realist, the projectivist maintains that moral properties and moral facts are not to be found "out there" in the world that is independent of our senses and rational interests. Instead, moral judgments are seen as projections of our internal mental lives.

The basic tenets of projectivism can be applied to a number of disciplines, from constitutional interpretation and the rules of chess, to artistic criticism and etiquette. All these disciplines involve some sort of projection of our internal mental representations onto the external world (i.e. adding something to brute fact reality).

So we must ask: what is distinctive about moral projectivism? Well, the popular forms of moral projectivism envisage the act of moral adjudication as equivalent to the act of projecting principles or life plans onto the external world. So, for example, saying "willful murder is vicious" would, in a projectivist worldview, be reinterpreted as a statement or expression about the general principles and plans according to which one lives one's life.

Versions of moral projectivism can be found in the work of R.M. Hare, Allan Gibbard and Simon Blackburn.


2. The Problem with Projectivism
Ross is willing to agree with projectivists to a certain extent, particularly in its characterisation of the ontology of moral values. He thinks it is right to say that moral values are dependent upon (or projections of) internal mental representations. In this regard, projectivism seems to have the upper hand over realism.

Where projectivism fails is in its account of moral justification. Ross argues that, as was the case with the realists, the projectivists are incapable of saying why certain sorts of projection or internal mental representation deserve a certain sort of consideration or weight. For example, most people would say that the autonomy of their fellow human beings is an important consideration, something to be given due weight in practical reasoning. Projectivists are unable to explain why this should be the case.

To draw out this point, Ross asks us to imagine that our evaluative responses are arrayed along a spectrum, with simple visceral responses to stimuli at one end and full-blown moral judgments at the other.


Now, when it comes to the visceral responses there is no need to talk about whether they are justified or acceptable. They are simply products of our contingent biological and personal histories. But when we move along to consider artistic and aesthetic judgments, not to mention moral judgments, the idea of justification and criticism of judgment begins to get a foothold.

If someone judges, say, the later works of Henry James to be psychologically complex and appreciates them for this quality, we think they are justified in their responses: they are seeing something important about James's work. They are seeing a quality that deserves a certain kind of consideration. But it's not clear how the mere idea of projectivism can account for that phenomenon.

When it comes to a projectivist metaethics, its proponents need to tell us why, when projecting principles or life plans, certain kinds of quality or property deserve to included, such as autonomy. Ross thinks they can't do this.

Indeed, he notes two trends in the history of projectivist thought. The first, associated with Hare and existentialists like Sartre, accepted that projectivism could not explain why particular qualities deserved consideration. They embraced the fact that we had total freedom to project whatever values we might like onto the world.

The second trend, associated with Blackburn and Gibbard, tries to retreat from the existentialist void and claim that certain values will, of course be included. They might, for example, appeal to evolution and say that this ensures that, say, parental love will always be among the values that are projected onto the world. Ross thinks that this appeal can do little to stem the tide of moral scepticism because evolution also seems to have endowed us with plenty of unwelcome dispositions and preferences.

So, Ross concludes that projectivists have no account of justification. At this point, having pinpointed the failings of realism and projectivism, Ross proceeds to consider the constructivist alternative. We will look at that next time out.
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