Corect, un plasma cutter, cu unu-doua "gloante" trase tai un limb, pe care poti usor apoi sa il folosesti sa omori un necro.
Ce o sa folosesc, un SMG sau un plasma cutter? Hmm.....
Corect, un plasma cutter, cu unu-doua "gloante" trase tai un limb, pe care poti usor apoi sa il folosesti sa omori un necro.
Ce o sa folosesc, un SMG sau un plasma cutter? Hmm.....
SMGul ala e praf.
Plasma Cutter is the ultimate weapon!
It's 12/12/12...something is amiss on Tau Volantis...answers coming tomorrow. Stay tuned...
da, si la Mass Effect a avut un succes nebun....
Hai ca nu a fost chiar asa rau la Mass Effect.
Dead Space 3 Amazon.com Pre-order Exclusive
Dead Space 3: Happy Holidays!
Dead Space 3 - The Story so Far
THE TECHNOLOGY BEHIND DEAD SPACE 3
Heat Monitor
KinesisThe Heat Monitor is a device that helps the planet's inhabitants monitor their thermal energy level (can T-ENG be far behind?!). In some ways, the "heat monitor" replaces the "oxygen meter" from the first two Dead Space games, only this time, "oxygen" is plentiful (you're on a planet ...) but an environmental hazard monitoring device is still being used.
Despite their suits, Clarke and Carver will die if exposed to cold too long. The monitor will track your character's body heat as you wander around topside. Heat depletes as you're exposed, but your suit will slowly warm you back up once you are out of the elements.
RIGsKinesis is technology that allows human engineers and construction crews to move large masses easily in almost any environment.
Hands-on Zero-Point applications have found use not only space-borne construction, but also on planetary projects where bulkier construction exoskeletons and machinery are not suited, nor welcome.
Scavenger BotRIGs monitor the lifesigns of an individual. Developed from medical monitoring systems designed for elderly patients, it has found common usage among the adult population.
StasisThe Scavenger Bot is a remotely operated robot Isaac operates to collect small out of the way items.
Small robots still perform many tasks where human technicians and larger robots cannot go (such as ventilation ducts and waste tunnels). Various military groups are suspected to have carried out surveillance and assassination missions using similar machines.
Stasis is a field of science and technology based on advanced quantum physics. In layman's terms, "stasis" modules allows the suspension of a field of "slowed" time in a designated volume. All motion and physical activity "slows" relative to normal time.
It was suspected that living organisms subject to such a temporal slow down would die, as aerobic and anaerobic activities, vital to life, would be affected. However, stasis merely shifts the afflicted into a slower "state" of time; bodily functions relative to the afflicted individual(s) still work (relative to their temporal state), and hence, they do not come to harm.
That said, stasis has found wide applications in the surgical field, where patients who are suffering from otherwise terminal conditions or incredible trauma (such as the loss of whole limbs) can be put into stasis while suitable equipment and staff are assembled and organized to render treatment.
IGN's "Up at Noon" interview with John Calhoun:
CREATING CARVER
In Dead Space 3, you can take on the Necromorph plague in isolation, without any AI character following you, or you can co-op it with a friend, and be introduced to Carver.
Carver has his own story, his own issues with going through dementia and Markers, so the player will experience a completely different side to Dead Space 3 than he would just playing alone. See the IGN video below for a behind-the-scenes look at all motion-capturing that went into creating Carver.
LOST AUDIO LOGS
Clarke and Carver can discover audio logs in Dead Space 3. Per usual, each tells a small story about unseen characters and the setting they explore. Below are a few samples of the disturbing audio diaries you'll discover throughout Dead Space 3.
Brace yourself, some of these audio logs have been found to be quite disturbing.
Am sa ma abonez la acest thread, pe la sfarsitul lui februarie (cand am timp) poate vrea cineva sa dam un co-op impreuna.
Dead Space 3 - Better with Kinect
Better with kinect my a**! Si nu, nu spun asta pentru ai ataca pe cei cu kinect, mai ales ca am aceeasi parare si pentru PlayStation Move. Cand a fost prezentat Kinect toata lumea era uimita ca puteai juca fara controller, acum cei de la visceral folosesc doar microfonul de la kinect... De ce nu ar putea fi facute toate comenzile pe care le arata in videoul de mai sus cu o casca, sau microfon normal? Si in primul rand Dead Space este cam singurul joc cu adevarat survival horror, menit sa te frusteze, de ce ai vrea sa iti usurezi "suferinta" cu astfel de scurtaturi.
Nu vreau sa fiu inteles gresit si sa imi sara toata lumea in cap, dar m-am saturat sa promoveze producatorii de jocuri, PlayStation Move si Kinect ca si cand ar face o minune, cand ele defapt fac un ......
Nu zic nu, poate la PlayStation 5 sau x-box 1440 o sa fie ceva, dar dupa cum se prezinta in acest moment (si in viitorul apropiat) nici o sansa sa fie ceva de capul lor. Partea trista e ca toti incearca se le bage pe gatul gamerilor ca sa isi vanda accesoriile. De kinect nu pot spune multe deoarece nu am testat foarte mult (dar tot imi pare o tampenie), dar cel putin la move mai au foarte mult de lucru. Intradevar, se misca mai bine ca la wii, dar tot ai momente in care simti ca este ceva prost implementat la el.
La fel si la vita, ma apuca spumele cand ma trezesc, la unele jocuri, ca trebuie sa stau sa apas ca tampitu pe ecrane. BS!
On topic
Snow Suit / Line Gun concept art.
Dead Space 3 Dev-Team Edition Announce:
DEV BLOG: ENVIRONMENT ART - EXPANDING THE DEAD SPACE UNIVERSE
Guest Blog: Lead Environment Artist, Ed Molina, continues a series of blogs from the Dev Team to give the fans an insider look at Dead Space 3
The player’s perception of space and time has always been a key ingredient in creating the experience of terror in the Dead Space universe. The narrow service corridors of the Ishimura are an example, with their flickering lights casting strange shadows of twisted wires and metal panels on walls and floors. The zero-gravity rooms of the Colony were disorienting and terrifying with their crevices and ventilation ducts where enemies may or may not pop out at the player at any moment. The environment art team also placed heavy emphasis on the decay and deterioration of structures, buildings, machines, and personal items to tell a story of extreme terror, loss and isolation and of many years gone by.
From a very early moment in the development cycle of Dead Space 3 we faced the task of expanding our range and scale of environments. Still wanting to remain true to the classic Dead Space experience, one of the main challenges we encountered was to achieve a sense of isolation and disorientation when bringing the player into open space. To transmit a sense of claustrophobia, as we had on the Ishimura, we relied on environmental fog. As the player explores Tau Volantis he is exposed to a variety of climatic conditions that include heavy snow blizzards, dense fog, and sudden clear openings. By playing with the visibility levels we were able to create moments in which the player sees unrecognizable silhouettes moving through the fog, not knowing if he is about to be attacked by a wave of Necromorphs or is simply approaching some abandoned piece of debris flapping in the wind. Controlling the visibility level also let us play with the player’s ability to recognize and understand the physical boundaries of the space he was exploring. Without knowing how far the walls are he can’t find protection by backing up against them, thus feeling exposed and fearing an attack from any direction.
“Compression and expansion” is a technique commonly used in architecture to enhance the perception of scale and hierarchy of certain spaces and it was one of the tools we adopted when designing our environments. Controlling the player’s visibility level also allowed us to suddenly reduce the fog thickness or the blizzard’s intensity framing controlled vistas and exposing the player to a sudden expansion of the world, thus increasing the perception of an expansive frozen wasteland.
One of the strategies we used to communicate the sense of time in DS3 was to understand how objects slowly integrate themselves to their surroundings when exposed to the natural elements for extensive periods of time. Buildings, structures, and debris objects weren’t just simply placed in this frozen world. We tried to carefully integrate them to the snow-covered ground with snow “skirts” that softly transitioned into frost. In those interior spaces where the temperature was warm enough to melt the ice and snow we made sure our materials looked wet and our textures expressed the natural rust and oxidation metallic and concrete surfaces would show over long periods of time.
Se pare ca au scos si editia speciala la vanzare, doar 5000 exemplare.
DEAD SPACE 3 DEV-TEAM EDITION sau varianta fara joc DEAD SPACE 3 DEV-TEAM EDITION ADD-ON
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