#gampley

 Я никогда не любила дом Ландграбов. И раз уж у меня тут все типа симс2, то я решила что тут будут жить  Монтекки.  Но раз уж есть Монтекки, то поселю  Капулетти в Виндебурге, вот тут.

Bandai Namco showcased Nina Williams a couple of weeks ago and the publisher on Tuesday morning has released a new Tekken 8 trailer, revealing the Mishima heir, Kazuya Mishima.

The new trailer showed Kazuya's amazing gameplay including his Devil gene power

In the trailer, the son of Heihachi Mishima, Kazuya can be seen squaring off against his own son Jin Kazama, who wants to free the world of the Mishimas' evil desires.

jugando con #neith #smite

The first major slice of DLC for Saints Row IV may be the most surreal gaming experience of the year, but is there more to the expansion than just a few good jokes?

For a franchise that started out as nothing but a low rent Grand Theft Auto clone it’s fascinating to see how far Saints Row has come. We’re not even sure newcomers would make the connection between the two series nowadays, despite Saints Row retaining its open world carjacking foundations. But since the third game things have gotten very silly in Saints Row. The series now revels in its absurdities and makes a virtue of the fact that it’s now throwing every random idea it can think of into the mix – and not really caring whether it sticks or not.

This new downloadable content is especially uncaring when it comes to either plausibility or good taste, not only that but it’s incredibly meta. Enter The Dominatrix, or at least an expansion with that same name, was originally intended to be downloadable content for Saints Row: The Third, before being repurposed to become the basis for Saints Row IV. Now the name is being reused for an actual expansion, which is not only hugely confusing but the basis for the download’s narrative.

Rather than try to act as an epilogue to Saints Row IV this is instead presented as an alternative storyline, a very literal what if commented on by the protagonists themselves. Not only the regular crew but new characters as well, that were supposedly cut from previous games. Everything is presented as if it’s a series of TV interviews, with the missions playing the role of previously unseen footage. It’s all very self-referential and, in the normal Saints Row manner, never quite as funny as it thinks it is, but at least you can’t complain it’s just a boring map pack.

The story itself is, as you might gather from the title, a parody of The Matrix. Which in terms of topical comedy has all the timing and relevance of a Have I Got Old News For You marathon on Dave. At least it means that everyone and their granny is going to get the references though, and in any case the story’s largely immaterial when you have people running around in gimp masks and being attacked by velociraptors.

For what it’s worth though you’re fighting a rogue artificial intelligence that for reasons best known to itself chooses to manifest as an aging dominatrix (or maybe she’s meant to be a voluptuous supermodel type, it’s so hard to tell with Saints Row’s low rent graphics, which are certainly well past their sell-by-date).

Enter The Dominatrix (360) – at least it’s better than The Path Of Neo

In any case everything boils down to a series of boss battle run-ins with the AI and five main missions, each of which amounts to little more than shooting everyone in the room with faintly unsatisfying guns and superpowers (even the new minigun and flamethrower don’t quite feel as fun as they should). Poor mission design and bland mechanics has always been a problem of the series but this doesn’t even have the variety of the parent game, despite sections in a spaceship and a chariot race with gimps instead of horses.

These are the highlights but the issue remains that as much as we admire Saints Row’s willingness to ignore any question of realism or common decency it’s still not really a very good video game. The mechanics are bland and workmanlike, the mission design far more ordinary than the surface wackiness suggests, and the graphics and art design look more like a fan-made mod than a modern video game.

The appeal of Saints Row, and in particular this expansion, hinges almost purely on the jokes, which are as hit and miss as the enemy AI. Apart from the antique Matrix references there’s a lot of sub-Blood Dragon style jokes about gaming clichés, which make the usual mistake of poking fun at a trope (escort missions, for example) and then using them anyway.

And yet some jokes do definitely work. They might still be attacking obvious targets – from furries to the obviously low budget of the expansion itself – but they are genuinely funny. Some of the one-liners are great and the finale is so utterly bizarre it’s probably worth the (sensibly low) price of admission on its own.

Ultimately it’s very easy to gauge whether you’ll like Enter The Dominatrix or not , based simply on whether you found the original funny . If you did then you’ve probably already bought the season pass and we expect you’ll be perfectly satisfied with this. We though would rather just wait for a next gen Saints Row V, when hopefully its ego will stop writing cheques its oddly pierced body can’t cash.

In Short: The jokes and plot twists are more bizarre than ever, but even they don’t always hit their mark – and without them this is an even less interesting gameplay experience than its parent game.

Pros: Half a dozen laugh out loud moments make the most of the admirably surreal setting. Fairly good value for money, with new weapons, vehicles, and gang members.

Cons: There’s even less meat and variety to the action than the main game. And for every joke that hits its mark there are two or more that fall flat. The graphics really are rubbish.

Score: 6/10

Formats: Xbox 360 (reviewed), PlayStation 3, and PC Price: £4.69 Publisher: Deep Silver Developer: Volition Release Date: 23rd October 2013 Age Rating: 18