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Wednesday, 27 February 2013

Google Chrome + U Torrent Free Download Latest version

Hiee  Friends Till now I just used to keep many number of Post's and Articles about Technology. And today's Article is About Google Chrome  + U torrent Latest Version to till now . and Giving a Free Downloading Link to you . I promise a Single click to Download and these are 100%  working Items.Because I do used to Search the 100% downloadable things in Google so I don't wanna to disappoint you. and more over I don't have any credit card to place a " adfly.ADS " or any other type of Advertisements to you . so this all articles are about Educational purpose only.and till now I used to give 3 Digited number of Post's okay If you may or may not  give response to my Article I will keep post like this to my Satisfaction with the View count :P.

 This Google chrome is the Latest of till now with  " Google Chrome 27.0.1423.0 Dev "  Product. and this U torrent is also the Latest Product for till now with " U Torrent 3.3.1 Beta 29213 ".

          Okay  I can Understand  most of you not want to read this content as Like me :). you want the Link. so the link is at below the Image.

Google Chrome is 31.31MB (Open Source) - beta  and     U Torrent is 1.11MB (Freeware) - beta


Tuesday, 26 February 2013

A Brief History Of YouTube [INFO-GRAPHIC]

It’s been eight years (as of February 14th) since the creators of YouTube officially founded the site and if you’re anything like us, you probably can’t remember what the world was like without it (and nor would you want to).

We absolutely adore YouTube, so to show our love for the site this Valentine’s Day (coincidentally also the date it was founded), we've created a beautiful info graphic documenting the journey of the site over the past eight years. Embed code at the bottom.

In the Last article about YouTube I just given the Rewind YouTube Style 2012 " . so right I wanna to suggest you an Info-Graphic view YouTube from Starting to 2013 of right now. And i hope you do Love this .   

Sunday, 24 February 2013

Avast,Kaspersky,Avira 2013 Free Full version Downloads

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Wednesday, 20 February 2013

PlayStation 4 Realize details by Techno world

Andrew House speaks at an event to announce the Sony Playstation 4 Wednesday, February  2013, in New York
New York: Sony announced its next-generation gaming system, the PlayStation 4, and promised social and remote capabilities. Wednesday's announcement gives the struggling Japanese electronics company a head start over Microsoft and an Xbox 360 successor.
The new PlayStation's updated controller closely resembles the PlayStation 3 controller but adds a touchpad, motion control and a "share" button. The Japanese electronics giant said the console will be part of a new ecosystem focused on hardware, software and "the fastest, most powerful gaming network."
The PlayStation 4 will be Sony's first major game console since the PlayStation 3 went on sale in 2006. Microsoft is expected to unveil the next Xbox in June at the E3 video game expo in Los Angeles. Last fall, Nintendo started selling the Wii U, though it plays catch-up in some respects in bringing the ability to play high-definition games.
Although the Xbox 360 came out a year before PlayStation 3, Microsoft's game machine has been more popular, largely because of its robust online service, Xbox Live, which allows people to play games with others online. The original Wii has sold more units since its launch than both its rivals, but it lost momentum as the novelty of its motion controller faded. Sales of the new Wii U have been slow.
Underscoring the importance of a new PlayStation and the US market, Sony is holding its announcement event in New York rather than in Japan, as it had in the past. The event is at the Hammerstein Ballroom in midtown Manhattan.

Live updates:
Here's a running account of the PlayStation event, presented in chronological order. All times are EST. Presenters include Andrew House, president and group chief executive of Sony Computer Entertainment; Mark Cerny, lead architect for the PlayStation 4; and David Perry, co-founder of the Internet game company Gaikai, which Sony bought last year.
6 PM: The PlayStation event begins with a light and video show at the storied Hammerstein Ballroom in midtown Manhattan. In attendance are analysts and journalists representing news organizations around the world.
6:10 PM: Just before announcing the PlayStation 4, House refers to "a moment of truth and a bold step forward for PlayStation and the company." He says Sony is looking to offer powerful opportunities to connect and play, including on mobile through a companion PlayStation Vita released last year.
6:25 PM: Cerny appears in a plaid shirt and jeans as he touts the ease in which computer programmers will be able to write games for the new system. He says that with so many devices around, the value of having a powerful computer on a single chip has diminished. Instead, Sony is building the new PlayStation on top of a traditional PC architecture, and in doing so, game creators will have an easier time developing games.
6:30 PM: Cerny says the new PlayStation will have hardware compression so sharing video of game play will be easier. You can browse live game video of games your friends are playing.
Adopting Facebook's philosophy, Sony will transition to an online game network based on real names, even as people will also be able to keep their aliases.
6:40 PM: Perry talks about Gaikai's vision of letting people explore any game in the PlayStation store for free. The idea is gamers will then buy what they like.
He says PlayStation 4 will allow for virtual spectating. With one button, you can broadcast your game play so friends can "look over your shoulder virtually."
It will have a feature called remote play, in which you run the game on the PlayStation, which then sends the video to your handheld PlayStation Vita device over the Internet so you can play remotely.
6:45 PM: Like Nintendo and Microsoft, Sony is trying to position its device as an entertainment hub that can deliver movies, music and social networking as it tries to stay relevant in the age of smartphones and tablets.
The PlayStation online network will have access to Sony's video and music services, as well as Netflix, Hulu and Amazon - as long as you have subscriptions to those services. You'll also be able to access Facebook.
6:50 PM: The event continues with demonstration of games that can be played on the new PlayStation.
7 PM: Among the offerings planned: "Drive Club." An executive from Evolution Studios says it's been a concept for a decade, but made possible with the new machine. The game will be about driving the best cars in the world in the best locations in the world, using 3-D models of engines built by the development team.
7:15 PM: Another game showcased was "The Witness." It's a puzzle game that explores an abandoned island. It will be developed exclusively for the PlayStation 4.
7:25 PM: Beyond games, Sony is touting the PlayStation 4's fast graphical capabilities. You'd be able to create animation in 3-D using a Move motion controller - all in real time.
7:30 PM: It's 9:30 AM Thursday in Tokyo, and the event is being streamed live at Sony's website.
Yoshinori Ono from Japanese game maker Capcom addresses the audience in Japanese, with a translator offering the remarks in English.
7:40 PM: More than an hour and a half into the presentation, Sony has yet to show the PlayStation 4 machine. There's no word yet on price or release date, though availability isn't likely for several months.
7:50 PM: Sony continues to bring game developers on stage to talk about upcoming releases and plans for the PlayStation 4. Video from the various games is shown on the giant screen.
8:05 PM: The event wraps up without Sony showing off the device or saying anything about price. The event focused on the new console's social and remote features and games that are being developed for it.
Sony says the "PS4 is coming Holiday 2013."

PlayStation 4 Small Review by Techno world

Revealing Details of PlayStation 4 :click here    PlayStation 4 : 

The PlayStation 4 or PS4 will be the eighth generation video game console developed by Sony Computer Entertainment and manufactured by Sony Corporation Sony Electronics division. The PlayStation 4 system has been code named the "Orbis." The system is rumored to have AMD hardware and boast a resolution of up to 4096×2160. Sony has yet to officially acknowledge the console's existence, despite persistent rumors that an unveiling would take place during the 2012 Electronic Entertainment Expo. The console will be the successor to the PlayStation 3 and (according to PSW) it will be twice as powerful with a similar size to the Nintendo Wii. The PlayStation 4 competes with Microsoft's Xbox 720 and Nintendo's Wii U as part of the eighth generation of video game consoles. According to rumors, Sony desires to put the PS4 on the market by 2011, E3 2011 at Sony Conference. although no announcement has been made as of January 6, 2013.

Rumors suggest that support for the PS3 console will not be dropped, at least not right away. Sony will continue to sell and support the outdated console for a while after the PS4's initial release. Sony has already discussed the future console with software developers and plan to base the PS4 on a unique cell processor which could provide double the power of the PS3. The new PS4 will allegedly contain an upgraded chip set from the PS3. Currently the PS3 uses the Cell processor, however there has been speculation as to whether the next model will use it or not. The latest rumors say yes, that it’ll be a slightly faster 45nm, with between 10 to 20 cores. In addition, Sony is said to also be looking at ditching the XDR memory, and switching to JEDEC RAM, which is more cost-effective. With it being slimmer than its predecessor, the PS4 is allegedly going to be more energy efficient and cheaper for consumers.

Some notable concept art for the console has been produced by graphic designer, Tai Chiem. As displayed, the console could sport a futuristic look and consist of a spherical screen and a 'knell touch screen panel.

Technical details about  PS4    
Playstation4-winning-concept crop.jpg
A concept winning design.
DeveloperSony Computer Entertainment
ManufacturerSony, Foxconn, ASUSTeK and IBMfor SCEI
Product familyPlayStation
TypeVideo game console
GenerationEighth generation
Retail availability2013 - 2023
MediaDownload, HVD
Operating systemXrossMediaBar, PlayStation 4 system software
CPU3.20 GHz POWER7 Cell Broadband Engine or CBE 2 with 10 PPE & 16SPEs
Storage capacitySSD, Cloud Computing
Graphics800 MHz NVIDIA/SCEI RSX 'Reality Synthesizer' RSX 2 with 4GB ofVRAM
Controller inputDualShock 4, PS Move
Online servicesPlayStation Network
PredecessorPlayStation 3

Console Race :

Sony is in competition with Microsoft to bring a next-gen console to the market. Sony realised that when Microsoft released the Xbox 360 with a relatively cheap engine, this allowed Microsoft to capture a healthy chunk in the gaming market.
Also the PlayStation 3 is a distance away from the Wii in the market (especially in East Asia). This made Sony to think as to making a smaller console, as the Japanese buyers prefer smaller platforms.
While the PlayStation 3 has only recently been released and has its best days still ahead of it, Sony is not one to rest on its laurels, and with the intense competition in the video game world, plans for the PlayStation 4's future release are already being put into motion. In fact not only is the PlayStation 4 getting this treatment, but even the PlayStation 5 and PlayStation 6 are in the early stages of planning and conceptualization at Sony’s R&D labs.
While Sony has not released any official information concerning the system’s future launch, the generally accepted release date is pegged as late 2012, which would follow the trend of Sony’s previous console generations. The PlayStation 1 was first released in late 1994 in Japan and 1995 throughout the rest of the world. The PlayStation 2 hit stores in 2000, giving the PS1 a retail shelf life of 6 years from its Japanese launch. Likewise, the PlayStation 3 came out in 2006, 6 years after the release of the PS2. Following this trend that Sony has established would give us a late 2012 release for the PS4, but 2013 rolled around and still no official word on the PS4's existance.
It’s possible that how the PlayStation 3 fares in the current console war may also determine the release date of the PS4, for a couple of reasons. If the system continues to flounder in 3rd place in the console wars, failing to generate the revenue which was initially expected of it, Sony may be far more eager to cut their losses and rush the PS4 to market sooner rather than later, possibly as early as late 2011.
If the PS3 does indeed fail to make ground on the Wii and Xbox 360, it may also convince Sony to try and jump the gun on the next generation console wars and get their system out the door first. Both the PlayStation 1 and PlayStation 2, which dominated their generations of the console wars, came to market at the same time or earlier than their competition. The PlayStation 1 was launched just after the Sega Saturn, and well before the Nintendo 64, while the PlayStation 2 was released before both the Xbox and Nintendo Gamecube.
This enabled Sony to get a head start on the competition and gave developers time to build their skills at developing games for the console, to the point that even as more powerful consoles came after, games released on the older system were just as good technically, providing no real incentive for players to move to the new consoles.
In a recent interview, Doom and Quake creator John Carmack speculated that Sony will likely attempt to be first to the dance floor with their new console, before Microsoft launches their next console. As talked about above, there is plenty of rationale in this line of thinking. On the other hand, Sony has long maintained they have a long-term plan for the PS3, and with the lower production costs of the new slim model PS3, and the increased sales of the new version, the PS3 may just be coming into its own. Whether Sony will try to launch before Microsoft (by all accounts Nintendo will actually launch first, but they’re not considered direct competition to the others like Sony and Microsoft are to each other) remains to be seen.
In an interview with GameSpot at 2010's E3, Activision COO Thomas Tippl shed some up-to-date, though still quite vague light, on the PS4's future release. When asked when he expected the next generation consoles to release, Tippl stated that it was unlikely they would see release within the next 2-3 years, as Activision still had no information on any new consoles. With development times for next gen games running 2-3 years on average, it makes sense that if the new consoles will come with third party games at launch (a near certainty), it will be at least 2 years from the time third parties first get the development toolkits in their hands to the point where the console releases. In the meantime all we can do is speculate and continue to wait.
Playstation inventor Ken Kutaragi, as chairman and group CEO of Sony Computer Entertainment Inc. is already thinking ahead to Playstation 4 and beyond. In an exclusive interview with EE Times, Kutaragi said: "As a matter of course, I have the vision of Playstation 4, 5 and 6, which will merge into the network."

Games :

Rumours suggest that games will be retailed online via the PlayStation Network. Meaning that all PS4 games will be downloaded and that no packaging or BD cases or boxes are to be made with the new eighth generation games. However, a recent article explains why this rumor will not become reality.
Sonyps4.com have shed light on unconfirmed reports that the PS4 will not support backward compatibility. This means that none of the games released on previous platforms will be able to play on the console.
According to PS4info.com exclusive games such as Killzone, Uncharted and Little Big Planet will all most likely return to the console in astonishing graphics with incredible gameplay.
The former head of Sony Worldwide Studios, Phil Harrison, made some interesting comments about the next generation of Playstation game consoles. Harrison believes that next-gen consoles, like PlayStation 4, will steer away from the current generation of consoles in a multitude of ways, one of which is game media. Instead of spending fifty-bucks for a disc, you’ll charge a credit card or use points to purchase rights to stream a game, similar to Netflix.
In January 2013, online gamers discovered a patent that reinforces the previous rumor that the PS4 will not support used games. According to the patent details, the disc and PlayStation account would be assigned numbers; if the numbers do not match, the game will not play

Tuesday, 19 February 2013

Crysis 3 review

  Dare to Buy :  Click here         Technical details : Click here              Crysis 2 : review

An action hero’s weapon is an extension of their identity. They’re inseparable implements, representative of their approach to combat and justice. Bond’s silenced PPK. Batman’s iconic boomerang. Mjölnir and Thor. Even Popeye’s transformative spinach says something about him as a character.

What does the Nanosuit say about its wearer in Crysis? That the player has a need to improvise, a need to see-saw between being an assassin and being a brute. “Press Q,” reads the manufacturer’s tag on the collar, “to harden your skin like a brick wall. Press E to become as transparent as a pane of glass. Tumble dry low.”

Crysis, at its best, is a franchise that puts you in situations where the Nanosuit doesn’t do the dirty work for you, but simply serves as a springboard for spontaneous problem-solving in hazardous battle-playgrounds. Crysis 3 doesn’t deviate from this template, but it does mostly repeat Crysis 2’s interpretation of it. It’s a less sandboxy and groundbreaking one than the original Crysis, to be sure, but linearity isn’t an inherent sin. Crytek’s shooter remains one of the best-looking games anywhere. It’s acrobatic and deliberate, especially in multiplayer, and an expression of what PC hardware can do.

New New York

Crysis 3’s campaign feels more of a continuation than a reinvention of Crysis 2. You’re still in the Big Apple, though one that looks like your neighbor’s house when they’ve been on vacation for a month, leaving their mail to pile up and yard to overgrow. Paramilitary bad-guy corporation CELL has taken credit for your heroic effort in the last game, and while you’ve been asleep they’ve gotten busy exploiting some secret power source to revitalize ruined NYC. Enormous, spherical barriers called Nanodomes have been erected to accelerate ecosystem growth.

At the start of the story you’re sprung from a stasis pod by Psycho, a former fellow Raptor Team member, to join a rebellion against CELL. Psycho and others have been “skinned” of their Nanosuits, making you, Prophet, the only one on the planet. Cue the standard “you’re humanity’s savior” spiel: Prophet’s unique bond with Ceph DNA grants him new power, but also exposes him to potentially being controlled by the Ceph hivemind. Psycho’s vendetta to find out who separated him from his superskin motivates the first few hours. He joins you as a temporary companion character on missions to sabotage a few well-designed CELL facilities, like a hydroelectric dam.

My hope was that this plot and the terraforming power of Nanodomes would be natural excuses for Crytek to create a broad set of exotic environments. And my worry was that Crysis 3 might simply coat Crysis 2’s somewhat-claustrophobic city blocks with moss. In 2011, I criticized the sequel’s narrowness: “Expressing your abilities as a player demands vertical and horizontal space, and there’s slightly less of it in NYC than I would’ve liked.”

The level design of Crysis 3 falls somewhere in between this gulf of opportunity and familiarity. “Urban rainforest” as an aesthetic isn’t really strayed from, and if anything, it feels under-expressed in that it’s never taken to its natural extreme. The world rarely seems wild. I never felt like I was in an NYC that’s been swallowed whole by the Amazon. A few areas filled with meters-high marsh grass are the exception. In one of my favorite sequences, Crysis 3 threw packs of Ceph Stalkers—melee assault units with scythes for arms—at me in a railway car graveyard submerged in a wavy green ocean under the sun.

The Ceph Stalkers didn’t bolt directly at me. They didn’t magnetize to my position like most game enemies. They darted. They took indirect, lateral routes. The stalks of grass quivered, but in a way that obscured the true orientation of enemies. I remember emptying a shotgun into the brush, still unsure if I clipped one. I felt anxiously, wonderfully lost. I couldn’t tell if I was in Central Park or Jurassic.

This was a legitimate “the floor is lava” scenario. In a panic, I perched myself atop one of the railcars, a rusty island. Four Stalkers, by my count, were orbiting the car, pouncing in the jungle bed like cheetahs. I gripped a grenade, pulling the pin before I even knew where I was going to throw it. The grass flickered at the opposite end of the ruined train. I chucked the bomb, holding my breath. Ten gallons of bubblegum blood sneezed out from behind the end of the car. A radar blip faded. The whole arc felt like playing Marco Polo against jungle raptors.

This moment—feeling alienated on Earth—is an outlier, unfortunately. Structurally, the level design has improved some: two chapters feature caves, and an above-average turret sequence or two, but mostly gone are the subways, parking garages, sewers, and elevator shafts of Crysis 2. The campaign also sprinkles in optional secondary objectives—no substitute for a proper sandbox, but they’re decent carrots that pull you away from primaries. Some are as simple as clearing a set of mines around an light armored vehicle using the Nanosuit’s new hacking mechanic (a timed button-press mini-game that’s appropriately complex). In some cases, completing these side missions grants functional benefits: liberating the LAV let me catch a ride with them through a segment of the map, operating their turret as they taxied me. In the same chapter, a mortar team volunteered their services after I killed some Ceph harassing them, unlocking the power to call in artillery strikes.

Foreign imports

Most of what you shoot in Crysis 3—the CELL weapons—are copies of what you shot in Crysis 2. I’m fine with that: Crytek’s near-futuristic ballistic guns don’t need replacement. Instead, the number of violent bells and whistles you can attach to conventional weapons has multiplied. One of the basic rifles, the Grendel, can be mutated from a sci-fi M4 into a ridiculous death platform. Throw a miniature version of the Typhoon—a new SMG that spits 500 bullets per second—under the barrel as an attachment. Swap in a muzzle break to improve the accuracy of your first shot. Load a mag of 6.8mm AP ammo (if you’ve found one of the special ammo caches) for greater penetration. Even shotguns get access to electric buckshot.

The déjà vu of handling the same weapons is offset by Prophet’s newfound ability to wield Ceph guns. Each of these devastating power weapons (see “Rad rayguns”) pulls from a single, small magazine of ammo. They’re intentionally disposable; as long as you don’t mutilate an alien with explosives, you can steal their flamethrower, lightning sniper rifle, or absurd plasma minigun that transforms into a wide-firing plasma shotgun. Firing each of these produces the same pleasure I felt when I first fired the Combine Pulse Rifle in Half-Life 2: giving enemies a taste of their own medicine. Their power is offset by the weight they place on Prophet (you can’t leap as high when holding a Ceph weapon), and by the loss of the ability to swap freely between standard firearms and the new Predator Bow.

On the receiving end of these guns, though, I found the Ceph to be a little tamer than they were in Crysis 2. Ceph Stalkers are underused. Devastators, formerly the alien tanks of Crysis 2, fall easily from the basic Ceph Grunt weapon, the Pincher Rifle. Ceph Spotters, floating drone-spheres that can zap you with EMP, were almost unnoticeable in the campaign. The new Ceph Scorchers are a bright spot. When attacked, they pop up their torso like a tower shield, making them invulnerable to direct assaults. They’re scary, glimmering little scarab-tanks—even when you’re hidden, they’ll intermittently torch an area while on patrol, like a camel might casually spit.

Turning the difficulty to Supersoldier (the fourth of five settings) did make things more comfortable (i.e., uncomfortable). Some of the increased ease of Ceph-killing is owed to the ability to wield their weapons, but more of it is due to the Predator Bow, which has a unique advantage within Crysis: firing it while cloaked doesn’t interrupt invisibility. It’s also permanently in your inventory. Crytek mitigates the Predator’s power a little by making its ammo scarce, but because you can recover basic arrows from victims, and most enemies die from a single, full-power shot, the bow occasionally feels like an easy way to clear a room. I still consider it a good addition to the weapon set because it demands being careful and deliberate in a way that Crysis’ other weapons don’t.

Invisible war

It’s remarkable how well Crytek’s UK division has made Crysis’ overpowered pajamas work in multiplayer. Migrating the mechanics of invisibility and near-invulnerability into a balanced arena can’t be easy. Online play, like the campaign, does feel more like a renovation than original work. Even one of the 12 maps, Skyline, is a reskin of the popular Crysis 2 level of the same name. But this whole side of the game feels as affectionately made as it did in 2011, and anyone that played the previous multiplayer should welcome more of it.

Some of the mode’s cleverness comes from Crytek worrying more about what’s fun than what makes sense within Crysis’ canon. In multiplayer, the Nanosuit’s stealth and armor powers operate on two separate batteries, not a shared pool. You can cloak and then immediately activate armor mode with no penalty. This wrinkle encourages a heavier use of stealth—armoring-up, bagging a kill, and then cloaking away is a viable getaway maneuver.

What I love about the the ubiquity of invisibility in competitive play is the way it makes seeing and listening necessary skills. The pace of movement in multiplayer—fast respawns, bottomless sprinting stamina—exceeds Call of Duty, but I rarely fall into the tired meat grinder mindset that I usually do in that franchise. It’s mitigated by two things: a killstreak system that doesn’t shower skilled players with ridiculous bonuses (you also have to earn rewards by retrieving enemies’ dropped dogtags), and the need to observe the world around you and absorb every drop of audio to stay alive. The sound design, vibrant and functional as it is in the campaign, clearly communicates threats and events. Footsteps betray enemy positions. Distant, crackling firefights let you know where you’re needed. Metagame accomplishments don’t overpower the moment-to-moment combat. When you penetrate an enemy’s armor, it crunches like a trillion walnuts, an effect that coincides with a shower of neon marbles falling off an enemy’s body.

Imitating the campaign, multiplayer maps are also sprinkled with the new alien guns. They operate as arena-style power weapons, but their rarity and limited ammo assures that they never grant more than a handful of kills. Their presence doesn’t fundamentally change Crysis’ multiplayer into Quake or Halo, but it does make it more interesting. As does the addition of passive aircraft on some maps. On certain modes, you’ll spot an empty CELL VTOL. It hovers softly around the map like a turret-strapped ice cream truck. Hopping into it makes you a target, but even though it’s as slow as a crippled carousel horse, I loved the platforming challenge of sprinting up a ledge and leaping in before it flies away. You feel like Bruce Willis.

Creative mode design also continues to be a strength. Among eight modes, the stand out is Hunter, an asymmetrical, infection-style game type that matches two Nanosuit players against 14 CELL soldiers. Unless they’re hit with an EMP grenade, the Hunters are permanently invisible, with Predator Bows and a bottomless stealth battery. Everyone has sparse ammo. Playing as the prey, CELL, you feel like a bunch of teens thrown into a two-minute horror movie—you’re equipped with a proximity alarm, which pings like a paranoid steel drum whenever a Hunter is close.

It’s such a wonderful rearrangement of the mechanics. As a Hunter, you feel a ton of urgency, as a CELL, you’re balancing the safety of sticking with your teammates against the potential protection of isolating yourself in a far-off corner of the map and hoping you get ignored. There are also massive body shields in the environment that CELLs can pick up. In my finest moment, I cornered myself with one of these as Hunters encircled me. With my doom a certainty, I threw the shield at a cloaked player in front of me, crushing him with it in a final blaze of hilarious sacrifice.


Even with all the praise I’ve thrown at it, I worry about the longevity of Crysis 3’s multiplayer, based on how people seemed to abandon Crysis 2’s after release. It’s a minor tragedy that people don’t seem to see Crysis as a multiplayer game. They still think of it as the GPU-eating titan it debuted as.

Really, it’s both. Crysis 3 is launching with the same advanced settings Crysis 2 took months to add. That includes high-resolution textures and DirectX 11 support, and all the effects knobs you’d expect: shading, lens flares, shadows, water, anisotropic filtering, and more. Less scientifically, it looks as good and plays as well as anything on the platform. Every particle effect—from the flash of sparks when you pull the trigger on a Typhoon, to the radial detonation of an airburst arrow—is candy coming out of a piñata. CryEngine’s lighting makes mundane corners of the world feel authentic. The score, too, is outstanding, retaining its hints of Hans Zimmer despite the composer no longer being involved. Every moment benefits from the thudding, modern action movie music (that never resorts to dubstep in a search for relevance), songs intermingled with understated electronic sounds.

Crytek hasn’t pushed itself with Crysis 3. Compared to the wonderland that say, Far Cry 3 drops you into, its world is low on moments-of-awe per hour, and on the hours you’ll spent in it: I finished in about nine. The legacy left by Crysis, assuming this is the last we’ll see of the franchise in the near future, is much different than the craterous impact the original game made in 2007. It’s still a terrific, dazzling action experience with a core mechanic that empowers you, and ultimately, this feels more like Crysis 2: Episode 2 than a sequel that deserves your maximum enthusiasm.

Crysis 3′s advanced graphics settings revealed, high-res textures at launch confirmed

Following reveal of Crysis 3′s system requirements over the weekend, I’ve received confirmation from EA and Crytek of which precious secondary settings we’ll be able to tweak in the game. If you remember, Crysis 2 launched with an anemic four tweakable options: v-sync, game resolution, HUD bobbing, and a general quality setting. A patch after release expanded these, and fan-made utilities helped out, but the good news is that EA and Crytek aren’t shipping Crysis 3 in the same state.
Here’s what you’ll see if you click on “Advanced Graphics Options” in Crysis 3.
  • Game Effects
  • Object
  • Particles
  • Post Processing
  • Shading
  • Shadows
  • Water
  • Anisotropic Filtering
  • Texture Resolution
  • Motion Blur Amount
  • Lens Flares

Crysis 3′s “Advanced Graphics Options” menu.
Noteworthy among these is the inclusion of high-resolution textures at release. Also different from Crysis 2′s current advanced settings menu are discrete settings for lens flares and anisotropic filtering. Below, a quick chat on the topic with Marco Corbetta, Technical Director on Crysis 3.
PCG: Why did you launch Crysis 2 on PC with only a handful of graphics settings?
Marco Corbetta: On Crysis 2, a decision was made to focus on console, launching the title on all platforms simultaneously and bringing the same console UI menu experience to PC, but with a plan to release a dedicated DX11 PC version right after launch of the multiplatform version. Although most PC settings were already available at launch, just not directly exposed through the menu, the DX11 PC-focused version had all settings available directly in the menu and additional features like hi-res textures, tessellation etc. However, getting out the DX11 version with all the features included that we didn’t have time to develop while working on the console versions, took much longer than expected.
Is there any specific technical area of the game that’s been enhanced since C2?
Corbetta: As I mentioned, Crysis 3 will already ship with hi-res textures, advanced graphics settings, tessellation and DX11 support. Additional tech areas that have been enhanced since Crysis 2 are: AI navigation system, animation system, water, fog volumes, cloud shadows, POM, AA, cloths, vegetation, particles, lens flares and grass.
For Crysis 3, the past year has involved a lot of performance and memory optimization work on many areas and for all platforms, as well as work on the rendering side. One of our big goals was to improve image quality, and a lot of work went into developing several DX11 based anti-aliasing techniques for PC, which means gamers will now be able to pick their favorite—this is relatively involved on a deferred-based engine, since it involves selecting every technique and accessing multi-sampled buffers, versus the usual “flip the switch” approach. On top of an improved tessellation system we’ve also introduced character/vegetation tessellation—and since tessellation performance was still not optimal for the level of detail we wanted to achieve, we also did research into different areas and introduced what we called “Pixel Accurate Displacement Mapping” for macro details with nice real-time self-shadowing.
Can you describe the technology driving the grass system in C3? What distinguishes your tech from other games’ grass rendering?
Corbetta: This tech allows us to visualize thousands of individual blades of grass, and is very cost and memory efficient as we can even achieve good results on older console hardware like 360 and PS3. One of the most important things is that this technology is improving gameplay. For example, you can see AI aliens running through the fields and bending individual blades of grass, and things such as projectiles, explosions and wind affect grass movement too. This gives a “predator-style” gameplay experience in the Fields level, which is very in line with the experience C3 wants to offer. There are not many other games that can offer this kind of realistic grass simulation and rendering on a multiplatform basis.

Crysis 2 review

To Know About : Crysis 3 review               To Know About : Graphical details

An alien dropship hums overhead, trailing otherworldly ruby-red fumes from its engines. The patrol craft spits shining metal pods at the earth as it passes. Embedded in the city street asphalt, the pods pop like pressurized eggs; three raptor-legged, inquisitive Ceph soldiers spring out.
They can’t see me, but I’m a mere 20 feet away, invisible, steel feet perched still atop a shipping crate. I’m holding the wrong gun for this—a microwave gun would’ve been ideal—but I don’t care. I love the way my SCARAB assault rifle’s laser sight attachment seems to wander organically, slightly out of sync with my movements, illuminating what I’m about to kill. I center it on the aliens’ weak spot: an exposed patch of pink-goo translucence where tendrils dangle—like Cthulhu’s tentacles—from their back.

The cloak lets you indulge in point-blank executions and alien voyeurism.

The Ceph are least protected at the goo between their shoulder blades.
As the aliens’ formation fans out, I seize the moment and fizzle out of stealth mode. Eight rounds ping the Ceph commander, but he doesn’t die. In two seconds, he’ll activate a shield that makes him four times harder to kill. I can’t take him down in time—I need to flee. I sprint-leap off the container and tap Q; the voice in my head murmurs “MAXIMUM ARMOR,” and I hear my suit’s skin go hyper-dense, just in time to absorb the fall damage. I backpedal into an alley—my armor can’t sponge the damage from another energy blast. I need to find cover, but turning to look in the direction I’m walking would cost a precious second that I don’t have.
I think my back is near a wall—I’ve got to trust that that’s true. I spend my last Nanosuit energy on a hail Mary blind leap, holding the spacebar as I mentally cross my fingers. I hear a robotic whoosh—like a high-tech trampoline. Twenty feet off the ground, my feet find a cobblestone ledge. I cloak and dart off. I’ve never felt more like Batman in a game—and that includes Batman games.
New York minuteman
Crysis 2 is at its best when it puts you in situations where you need to pivot and make creative use of your billion-dollar tactical tuxedo—the Nanosuit—to stay alive. It gives rise to moments like that last-ditch super-leap, applying timely cloaking to stealthily leapfrog between cover to execute a flank, or activating armor so you’ll survive a point-blank barrel detonation that wipes out every enemy around you.
The game provokes these on-the-fly decisions with bad guys that are durable and alert. Crysis 2’s opposing force comes in two forms: human mercs working for the Crynet corporation (the creators of the Nanosuit) called CELL, and the Ceph, a race of invading invertebrates in robotic exoskeletons. Both factions are more about being challenging and fun to shoot than unpredictably intelligent.
The Ceph are better—their hand-to-hand Assault units and rifle-wielding Grunts occasionally hop across chasms to reach you or escape; hulking Devastators might fire an energy missile to flush you out after you’ve just cloaked. They do feel somehow a little less fluid and dastardly than the creative Koreans of Crysis. That doesn’t make them less entertaining per se—they’re just more likely to overwhelm you with sheer force and durability than unexpected maneuvers.

Tripodal tanks, Ceph Pingers are even more fun to fight than Half-Life 2's Striders.
Less impressive is the way these antagonists are awkwardly woven into Crysis 2’s story. As the game opens, New York City has already been decimated by a Ceph bio-weapon virus. Any citizens that didn’t evacuate became gory hosts to the crippling disease, and the first few levels are spent sprinting across town to retrieve a scientist working to combat the outbreak. Then the focus immediately shifts and the virus is almost completely forgotten.
The Ceph are ravaging NYC with snaking obelisks that release spores while CELL is clashing with US Marines and trying to capture or kill you—the only hope for humanity. Why they’d want to do that is never made clear.
It’s distracting that your focus as a hero is split between several interchangeable threats—the virus, the Ceph, CELL, evacuating New York or the Nanosuit’s mysterious creator who chimes in later on. It also undermines the sense of commando empowerment your suit supplies when your orders come from four different characters over the course of the game.
We’ll do it live
Of course, playing Crysis 2 for its story would be like buying fireworks to read the warning label. The heart of the game is its setpieces—a series of open, mini-ecosystems that stage combat with carefully placed enemy patrols, ammo caches, backdoors, and urban debris to fight around.
When you enter one, it’s usually from above—through a windowsill or over a rooftop. I love how giving you this vantage creates dozens of moments where you’re meant to cloak up, survey your options, and hash out a plan of action which usually goes wonderfully awry. My favorite is a midtown dock occupied by CELL. I entered through a windowsill ledge overlooking a series of small warehouses that extend into the water, connected by plank bridges lined with fuel barrels that tempt like ripe fruit. I died three times here as I experimented with unsuccessful, terrifically fun techniques: the “Reverse Depth Charge,” where I swam deep underwater with enemy-illuminating Nanovision active, then surfaced to lob a grenade or C4; stealthy rooftop sniping; and a reckless dash for a mounted turret—I hopped on and mowed down three soldiers, then ripped the gun off its bipod, leapt off the rooftop, and bagged four more kills before my Nanosuit couldn’t deflect any more bullets.

By comparison, some of the urban streets and close-quarters combat areas that act as the connective tissue between these scenes are underwhelming. New York promotes much less of the exploration, emergence and casual application of inhuman power that the tropical island did in the original Crysis. Having just replayed that game, it’s so disappointing that Crysis 2 isn’t a game where I can pick up a chicken and punch it a quarter mile down the block, or take a joyride on a boat on a whim. Natural jungles and their urban counterparts are obviously fundamentally different, but the inclusion of a number of linear, narrow sections—sewers, parking structures, office buildings, elevators, and two linear turret-firing vehicle battles—inhibits the freedom the Nanosuit’s superhuman mobility provides. Expressing your abilities as a player demands vertical and horizontal space, and there’s less of it in NYC than I would’ve liked.
Crysis 2’s devastated Big Apple does benefit from CryEngine 3’s gorgeous lighting, textures and particle effects. The specific glint and angle of sun on bricks and pavement between Central Park shrubs captures what you’d expect to see in Tribeca or along River Drive. Explosions are splashy; Ceph soldiers pop and bloom almost pornographically with boneless entrails when killed. Crysis 2 might not maintain its predecessor’s open design, but it does live up to its reputation as the highest-fidelity gaming experience anywhere—and this time without necessarily bringing your PC to its knees. On a Core i7 and GTX 580, I averaged 45 FPS at a massive 2560×1600 resolution at maximum settings throughout the campaign. Playing multiplayer at maximum settings on a laptop equipped with a Core i7-720QM 1.6 GHz and running an ATI Radeon HD5870 averaged 30 FPS.
Second skin
Back to that thing you’re using throughout the entire game—the Nanosuit. Using your skin feels easier than it did in Crysis. You activate armor and stealth modes on the Q and E keys, and basically see-saw between those keys through the eight-to-nine-hour campaign. This is mostly sensible; the only thing lost in this revision is that tense two seconds in Crysis’ clunky radial menu every time I wanted to swap modes.
While it mirrors the capabilities of the first game’s suit, this set of nanotech-pajamas actually feels less advanced. Sprint is noticeably slower than it was before, enough to diminish the sense of being genuinely superhuman. Likewise, super jump feels less like an expression of pure power—not because I couldn’t leap like a human grasshopper, but because the levels are obviously designed to be traversed by a character who can reach an exact value on the Y-axis. This careful calibration makes every jump feel the same, and takes away the feeling of power you get from navigating a world built for a normal man in a god-like way.

If you attached long-range artillery to The Hulk, you'd have the Ceph Devastator.
Worse is the omission of a dedicated strength mode and of fists as a selectable weapon. There’s a melee bash attack, but it’s not the same as leveling an enemy with a super-powered fist. It’s subtle stuff—and some of it may be necessary to balance the game—but it sums to a feeling that simplifying the Nanosuit, while promoting accessibility, eliminates some of the ridiculous, emergent, purposefully overpowered stuff I did in Crysis.
I do like that Crysis 2 lets me unlock and customize the Nanosuit through the campaign by harvesting a resource from killed Ceph. A few of the unlockable modules feel too modest (one high-level skill simply slows your energy consumption while cloaked) or useless, like the Air Stomp—a hard-to-use, downward ground-pound that drains your battery and disorients you, leaving you in big trouble if you miss. It makes sense, though, to have this layer of customizability to improve and personalize the suit by investing in modules that are specialized toward speed, stealth or armor, especially since you retain that progress over multiple playthroughs.
Maximum multiplayer
I’ve left Crysis 2’s most pleasant surprise for last: its unambitious-but-excellent multiplayer. It borrows Call of Duty’s template of unlockable weapons and profile progression (play to earn more guns, attachments and perk-like Nanosuit modules) but retains its own identity by giving every player a super-suit in most modes. On paper, migrating what you do in single-player into an online arena seems like forced design. In practice, giving every player a Nanosuit cloak encourages brutal mind games, trickery, surprise and creative play, even in the context of standard multiplayer modes.
The online play owes a lot to the finely-balanced subtlety of the cloak. Unlike the Spy in Team Fortress 2, cloaking with the Nanosuit doesn’t make you disappear completely. Stealthed players distort enough light around them to be noticeable if you’re looking closely, but your eye usually won’t find them if you’re focused on another target or moving with a lot of intent.
That balance creates this absolutely satisfying internal tug-of-war between feeling strong and invulnerable or fragile and uncertain. I caught myself blasting an explosive barrel because something in my mind—an extra footstep through my headset, a shadow (which cloaked players still cast)—told me that someone was nearby. Netting a kill from that decision feels supremely lucky; finding nothing
stokes paranoia and ratchets up the tension.

Every light source radiates with lens flares.
What’s best is how brisk and centered on gunfighting the overall pace of MP feels. Unlike Call of Duty, there’s little interference from the rewards earned by players that make consecutive kills—over a dozen matches, I was struck down by a Ceph gunship or orbital laser strike a mere two or three times. Considering the basic multiplayer template is borrowed from CoD, I’m glad Crysis shows this restraint—with the Nanosuit powers already in play, it’d be overwhelming if missile turrets, radar jamming, exploding drone vehicles, sentry turrets and other phone-in deaths were meddling with matches every other minute. Though it’s unclear to what extent Crysis 2 will accommodate modding online and offline, there are some smart server modifiers that may be toggled: admins can disable premade groups from joining, give players only a single life to work with or eliminate the Nanosuit powers altogether.
Empire State
This game may look and play best on PC, but the cross-platform development has definitely had an impact. Specifically, it’s disappointing to see that Crysis 2 makes some absolutely baffling technical omissions. The graphics settings menu offers just four areas to adjust: resolution, v-sync, HUD bobbing, and one of three pre-defined quality settings. Why can’t I pick what level of anti-aliasing or shadow quality I want in PC gaming’s most beautiful game? Quick-saving, too, is replaced by checkpoint autosaves; a developer console was also nowhere to be found.
Having finished the game (I have to mention the conclusion to the campaign, which left me more sour that BioShock’s infamously anticlimactic final battle), I feel like its sins had at most a modest impact on the raw, athletic fun I had dismantling the Ceph in a gorgeous urban setting. I’ve got piles of complaints, sure. But I still got to spend eight hours—and many more satisfying moments in multiplayer—killing aliens and mercenaries with the most high-resolution, entertaining gunplay since FEAR in the skin of gaming’s most empowering avatar. The thrill and spontaneity of outfoxing enemies with invisibility, snapping a machinegun turret off its stand and wading into danger, or sprint-leaping through the Big Apple in heavy armor is something you can’t get anywhere else on the PC.