Đối với các bạn mới chơi game avatar thì việc một số tính năng trong game các bạn có cảm giác mới lạ và còn hơi bỡ ngỡ chưa hiểu rõ hết, tính năng đấu giá là một tính
năng khá hay, ẩn chứa sự thông minh, chiến thuật của người chơi. Hôm nay mình sẽ chia sẻ một thủ thuật khá hay trong game avatar.
game avatar 230
Cách đấu giá thành công game avatar:
Các bạn làm theo các bước sau nhé.
Vào Khu Quay Số, sẽ gặp thằng Đấu Giá đang mặc Bộ Naruto.
Ngắm nghía một số món đồ yêu thích và ngồi theo dõi, còn tính được thằng đang chiếm ưu nó nằm trong khoảng nào, để mình biết được mà Úp Sọt
Ví Dụ :
xyz đang chiếm ưu thế trong khoảng 0 và 169
Rùi thì 1 lúc lại thông báo trong khoảng 0 đến 54
Tiếp lại thông báo trong Khoảng 23 đên 39
Chính vì nhờ được thông báo như thế, mình sẽ khoanh vùng được đồi phương đang trả giá ở mức giá nào
Ví Dụ như nó ở khoảng 23 đên 39
À, thì bạn biết ngay nó nằm từ 23,24,25,…. đến 39. Bạn cứ trả giá lần lượt kiểu gì cũng trúng nó, và đè giá của nó
Nó mà chọn 25. Thì bạn phải chọn là 25, và 26. Thì con số 26 sẽ là con số Chiếm Uu thế
Còn nếu, tên bạn đang chiếm Ưu thế, mà 1 lúc có cái tên khác Xuất Hiện, thì bạn phải biết rằng, nó đã Trả Giá đúng với con số của mình và đè hơn bạn 1 Nước
Ví Dụ như bạn đặt 25, thăng NPC nó kêu bạn chiếm uu thế, 1 lúc tên thằng khác mà hiện lên
Thì bạn phải hiểu rằng có thằng đặt 25 rồi, và nó chắc chắn sẽ đặt 26. Thì bạn lại phải đặt 26,27 Đè nhau đến khi nào bạn là Con Số Duy Nhất và Nhỏ Nhất
Đấu giá nhiều sẽ giúp bạn có thêm Kinh Nghiệm và không Run ở Phút Cuối.
Cách đấu giá:
choi game avatar
Mỗi phiên đấu giá sẽ có một mức hao phí cố định cho mỗi lần bạn đặt giá có thể là 1000xu hay 1 lượng
Đấu giá ngược chính là làm sao chọn được số nhỏ nhất và duy nhất sẽ chiến thắng.
Ví dụ đấu giá món hàng abc mức phí là 1000xu và chúng ta có 3 người tham gia đấu giá là A, B, C.
A lần lượt chọn đặt các giá là : 1, 3, 5 ,7 ,8.
A đặt 5 lần sẽ tốn 500xu.
B lần lượt chọn đặt các giá là : 1, 4, 5, 6.
B đặt 4 lần sẽ tốn 400xu.
C lần lượt chọn đặt các giá là : 1, 2, 3, 4, 9, 1050.
C đặt 6 lần sẽ tốn 600xu
Kết thúc cuộc đấu giá người thắng cuộc sẽ là C.
Hi vọng những thông tin trên sẽ hữu ích đối với các bạn, đặc biệt các bạn mới chơi. Tải game avatar phiên bản mới nhất về chơi nào.
game avatar.
Game Avatar đang là game mobile hot nhất hiện nay, với thể loại game nông trại vui vẻ được rất nhiều bạn yêu thích đặc biệt các bạn tuổi teen. Trong Avatar bạn sẽ bị hấp dẫn bạn bởi các hoạt động thú vị làm ra của cải, vật chất bằng cách trồng trọt, chăn nuôi, câu cá, tạo hình cho nhân vật, mua sắm thỏa thích. Đồng thời có thể chơi mini được tích hợp sẵn như Caro, cờ tướng, xếp gạch…game avatar 230
Với khu nông trại trong game avatar, bạn có cảm giác của một nông dân thứ thiệt qua việc làm vườn, trồng cây. Cùng mua sắm quần áo, quà tặng thỏa thích tại các cửa hàng mua sắm ở khu giải trí thật vui nhộn. Nếu bạn ưa thích trò chuyện thoải mái trong không gian hết sức tình cảm thì hãy chọn khu công viên, nơi bạn có thể dễ dàng tìm thấy những người bạn mới quen, tâm đầu ý hợp, giao lưu trò chuyện và kết bạn.tai game ionline
Tải và cài đặt game hết sức đơn giản, chỉ cần điện thoại của bạn kết nối web qua GPRS/ EDGE/ 3G/ Wifi. Dùng cho các đời máy hỗ trợ Java 2.0 trở lên. Thật thiện lợi,
các bạn có thể chơi gam trên những điện thoại java thông thường, hay đơn giản chỉ là một chiến điện thoại TQ. click vào đây có hướng dẫn
Keeping a harmonious family dow game khu vuon dia dang or intimate relationship could be so difficult at times that there are times that it could dangerously get out of hand. Each time you build a passionate or special enough relationship with a person, you have the ability to be attached emotionally and psychologically that one could actually affect the decision or behavior of the other. Through all the stress that a person experiences in their life, sometimes they can't seem to handle the pressure anymore and they tend to relieve all that pressure to the nearest and closest person they could find: their loved ones. People in abusive relationships marvel on the idea that they could fight back or remove themselves from that violent relationship, but most often than not, they are torn between leaving and staying and most people somehow don't have the energy to leave.
Abuse that occurs in an gamealo.net intimate relationship or between family members goes unnoticed for a very long time in most cases. But there are many ways to detect abuse in a relationship, as long as you have an eye for observation and keenness. There are many different types of abuse namely emotional, physical, sexual, or verbal, and one of which or a combination of two or more can be present in one relationship. In some states as a matter of fact, one could actually be sued for abuse just by merely threatening a person in any way that could hurt them. For one to be able to muster to remove oneself from an abusive relationship, one must recognize that he or she is indeed in one.
In order to move on away from the abusive relationship, one must game khu vuon dia dang 135 think of oneself and of his or her physical being and material needs. It is important that one must seek medical help first among others so one would have all the wounds cleaned up and healed, as well as have medical evidence collected as a result of said abuse in order for your case to be stronger against the abuser. Find out more of this and how the Violence Impact Panel deals with such.
Many cases of abusive relationships go unnoticed and unreported for reasons that the victim still feels strong emotional connections with the abuser and he or she tends to hope that said relationship will still go back for the better. in most cases, a lot of these abusers also have problems of their own that they can't seem to handle and this is the reason why they inflict the abuse and hatred on someone else, so by putting a case against them you are also helping them in a way. Don't allow yourself to fall into a deep hole that you won't be able to dig yourself out of,tai game khu vuon dia dang ve cho dien thoai let the authorities know of what you are going through.
One of the toughest questions people ask me is the question, why? Why did my daughter die? Why do I have cancer? Why can't I find a job? Why are people sometimes so nasty to one another? I work in a church. And a church is supposed to be a safe place. It's supposed to be a place where those genuinely longing for meaningful answers can go to sincerely struggle. So, naturally choi game khu vuon dia dang, as the caretaker of a local church, much of that struggling happens right in front of me, and I consider it a privilege to sit with people in the trenches of their inner wars. It is a war indeed, for the question that needs an answer, that persistent question, why, often has no answer accessible to finite human beings. And so in the absence of any kind of peace with God over his sometimes inscrutable, often painful plan, people of faith struggle. That's not always a bad thing, I think.
So what does that have to do with a video game? I finished Irrational's excellent BioShock Infinite recently, and I've had a little time since then for my mind to process the intense intertwining of story, character, setting, and atmosphere. My mind has gone to the places it is prone to wander to, the theological. Religion is a huge theme in Infinite. Religion touches almost every aspect of the game's narrative. The antagonist, Comstock, is a self-styled prophet and leader of a pseudo-Christian, religious cult-city game khu vuon dia dang, Columbia, suspended twenty thousand feet in the sky by a mysterious, quantum, science-fiction-y force. Booker DeWitt, the protagonist, seems at first to be motivated by a desire to wipe away a financial debt by rescuing a young lady from a tower in Columbia, but the game wastes no time at all in indicating that DeWitt has a deeper, moral debt that is not so easily erased. Images and language of water, baptism, washing, and rebirth all build upon one another in the telling of this story. There is even a baby who turns out to be the lamb of Comstock's prophecy.
Let me stop here and say that as a Christian and an ordained pastor, I was not in the least bit offended by the use of these decidedly Christian themes. For the most part, things like Christian baptism were used to move the story as well as I have ever seen them used in secular media. Levine appropriately tied rebirth to baptism. Part of what baptism represents in Christianity is dying as an old self and being raised to a new life. In Infinite, baptism is explicitly used three times as far as I can remember. The first time is when DeWitt is admitted into the city of Columbia. The second time is at the end of the game when DeWitt is offered baptism, which he rejects. The third and final time is when it is revealed that DeWitt and Comstock are really the same person, Comstock being the seemingly inevitable product of Booker's religious rebirth through baptism. Baptism in that instance is the means by which DeWitt dies for the sake of undoing all the evil that he and Comstock will bring about hack game khu vuon dia dang.
In each instance, baptism is used as an appropriate symbolic plot device for the point at which the players find themselves in the story. It's the initiation of a new and profound mission, a rebirth of DeWitt towards an ultimate destiny. It's the rejection of a salvation that DeWitt finds cheap and inadequate, preferring to seek the accomplishment of his mission in order to wipe away his debt, an ultimately futile effort. It takes Elizabeth bringing him back to the baptismal pool for him to fully grasp the profundity of his true debt and what that debt has earned him as a result. Even though there is death but no new life in the final baptism that ends DeWitt's and Comstock's lives, it functions quite well as a plot device given the kind of setting that these characters and their story inhabit. Levine wasn't aiming to speak theologically about the true meaning and use of Christian baptism. Therefore, I have no problem with him taking baptism and using it to tell a story separate from the Christian game khu vuon dia dang 134 story.
It's my contention, however, that it's the current game iwin 270 generation of games that have enjoyed the most fruitful experimentation with the paratextual. It took developers a while, but we are finally starting to see some amazingly creative handling of paratexts.
One of my favourite examples comes from Ubisoft's game Assassin's Creed: Revelations. Many people are familiar with the Ubisoft company logo that frequently pops onscreen at the start of their games; it's a kind of smooth, white, swirling movement accompanied by a pleasant electronic whooshing and pinging sound.
When it comes to Assassin's Creed: Revelations, however, some clever individual had the fantastic idea of manipulating the Ubisoft logo in such a manner as to make it sympathetic with the events of the game. Usually tai game iwin idents are entirely separate from the gameworld, neither visually nor sonically consistent with the art style of the game in question. Assassin's Creed: Revelations, however, is different.
In this game, the protagonist, Desmond, is comatose, trapped in the animus; something has gone very definitely wrong. A dead man is speaking to him, his ancestors' memories are all jumbled and out of whack, and Desmond himself has access to the deeper code structures of the programme. In a really cool reflection of this, the game opens not with the familiar Ubisoft logo,tai game iwin 270 but with a deliberately glitched and distorted one.
Not only is this a fantastic paratextual representation of the game's aesthetic themes, but it's also a great aid to player immersion. The animus is glitched and spreading into Desmond's mind--accordingly, these problems are also spreading into the paratextual aspects of the game, even the designers' logo. They're breaching the usual boundaries of the gameworld. Spilling the visual ideas of the game into its own paratext really gives the opening a kick. It functions as a beautiful microcosm for Revelations' story: just as the memories of Ezio and Altair and Desmond are converging, slipping over one another and glitching together, so too is the game's aesthetic spilling over into its own paratext. Great stuff.
Another example of paratext in gaming is the seemingly ubiquitous HUD. Heads-up displays aren't part of the world of most games, per se. They're onscreen information presented for the benefit of the player, and most definitely not accessible to the characters. Kratos never looks at the corner of the screen and comments on how many red orbs he has collected; Ratchet never pauses to think about how many more aliens he needs to kill before his upgrade bar fills; Nathan Drake can't really see a white line predicting the curve game iwin through the air of the grenade he's about to throw. This stuff is on top of the game; it surrounds it, but it's not part of the environment. It's paratextual.
But recent years have seen several developers willing to toy with the idea of HUDs, usually with the goal of increasing player immersion. One of the better examples is found in Dead Space and its sequels.
In Dead Space, there isn't a HUD, as such; instead, all of the information you need is incorporated into Isaac Clarke's suit and gear. His remaining ammo is displayed on his weapon, his health bar is a line of lights traced up his spine, and his options menu is a hologram projected from his suit. In essence, the designers of Dead Space have done away with the HUD as a purely paratextual object and have incorporated it as a literal part of the gameworld.
There is a creative strain in both films and gaming where old franchises are being resuscitated and updated to appeal to modern sensibilities. Arguably, the most successful film reboot of recent years was Batman Begins, directed by Christopher Nolan. Rather than merely redressing what we already knew about Batman, the film gave new insight into why Bruce Wayne transformed himself into a crime fighter and where his moral values stemmed from.
Although working in a separate medium, Crystal Dynamics' game iwin 270 cinematic reboot of Tomb Raider is a missed opportunity to offer similar insights into the beginnings of their popular heroine Lara Croft. Rather than critiquing the game's mechanics, I will provide a discourse as to why I believe the story fails to establish Lara's background and personal values and why her psychological transformation is undermined by the conventions of the action genre.
One of the major reasons why Tomb Raider fails as a reboot is because its narrative game iwin never justifies itself as one. Consider the opening sequence on the ship the Endurance. The developers rest on the assumption that gamers already know who Lara is, opting to breeze through the introduction without dedicating any time to establishing her history, personality and inner life.
What sort of person was Lara as a student? What was her relationship to her parents? How did they feel about her going on this expedition? The game is impatient, skimming past these details so that it never earns the moments to make us care about Lara before putting her in danger.
The game attempts to characterise Lara as a survivor with her tai game iwin 270 voice-over suggesting she looks inside herself for inspiration and drive: "When life flashes before us, we find something. Something that keeps us going." This is true of Bruce Wayne's character whose guilt over his parents' death fueled his sense for justice. Yet what is the inner motive in Tomb Raider? The game briefly suggests its Lara's guilt for deciding to sail into the storm and being shipwrecked.
However, when the game attempts to draw power from Lara's heritage, lines such as "You're a Croft" are weightless and hollow because in the vacuum of this story we don't know the value of her legacy. Listen to another self-reflection at the end of the gamealo.net: "I resented my father," Lara says. This revelation rings false because a thread of conflict between Lara and her father is never established consistently throughout the narrative.
Further, what new characteristics do we learn about Lara from this reboot? She's tenacious and brave in saving her friends, but aren't those qualities already typical of the character? The thudding moroseness of the game's grizzled tone also denies Lara any self-awareness or wit, meaning her personality lacks the charisma and spark of her rival Nathan Drake, whose comedic energy perfectly matches Uncharted's comic book aesthetic.
Beyond her grit and toughness, Lara feels interchangeable with other gaming heroes, lacking the distinctive idiosyncrasies that could have distinguished her. The simplicity of her personality results from the game's dependency on action, rather than a willingness to explore a psychological transformation. While being strangled, Lara wrestles a pistol free and, through game iwin 270 a series of button prompts, she shoots her attacker dead. This was deemed a significant turning point by the developers, as it's the first person Lara has ever killed.
Yet kills in the game don't form psychological barriers--they're treated as bonuses. Once the player regains control, Lara is guided to the next area where she shoots another two men dead. Experience points are earned and can be used to give Lara more effective ways in which to kill people.
Whenever Lara's dialogue grows angrier in tone, the effect is cosmetic. There are no psychological repercussions to her kills, or any insight into how murder affects the person she used to be, because her character doesn't exist prior to the Endurance.
Tomb Raider shouldn't be exclusively criticised for failing as a reboot, but it amplifies the disharmony between games and storytelling. Do gamers care about being emotionally attached to who they are controlling? If so, how much playing time are they willing to sacrifice if developers are to dedicate longer stretches to characters and exposition?
Great storytelling is a result of time management; how much information can be conveyed about a character in only a few scenes? Recently, I've seen an increasing number of Hollywood films sacrificing the opening thirty minutes tai iwin 270 to dive into the action sooner, rather than developing their characters and their motives.
This leaves a separate, irresolvable question about which medium is imitating which. Tomb Raider rests in both camps. It wants to be a highly cinematic reboot, a la Batman Begins, but like most games, it doesn't dedicate the time to understand its central character. It leaves Lara functioning more like an avatar than a compelling figure whose origin roots we can fully invest into.
Few things match the thrill of getting an incredible deal on an item we really crave game iwin 270. It’s a basic human response that we all can relate to.
That’s why auctions are so much fun game iwin. they present the titillating chance of scoring something for a lot less than we would expect. And that leaves us feeling great, because we now have the object of our desire and we have money left in our pocket.
Marketers know this and exploit it all the time –hence the profusion of sales, discounts, coupons, and the like… so much so, in fact, that we become numb to the tactic. People just don’t believe they’re really getting a bargain.
But now there’s a new online company that has actually figured out tai game iwin 270 a way to sell new must-have consumer products for jaw-dropping prices.
It’s called QuiBids – and it turns out that they are selling everything from the latest new Apple iPads and iPods, to MAC and PC notebooks, to HDTV’s and gift cards from the top retailers at prices as low as 5% of regular retail prices.
Now, of course, anyone in their right mind would be skeptical of such a claim – so we looked into it to learn just how they do it.
It turns out that both the prices and the products are real. QuiBids runs a unique version of the traditional auction - when you bid on an item you actually get charged a small fee of about 60 cents. Collectively, the amount collected for all of the bids on an item allows the company to sell the item at a price far below actual retail and even below the wholesale price they paid the manufacturer for it.
Figuring out how many bids to place and when to place gamealo.net involves a little strategy but on QuiBids it’s actually a lot of fun. Each auction has a strict time limit and when you place your bid, the system adds a little time to the auction to see if any other bids come in. If you have the winning bid when the clock runs out – you win the item for that price. According to QuiBids CEO Matt Beckham, “Thousands of people are trying QuiBids every day – and then coming back again and again - so we must be doing something right.”
For the auction winner, the true cost of the item is slightly higher than their winning bid price because they have also spent a little for their bids, but this amount is usually modest, and the savings still work out to be spectacular in most cases.
And then there’s the “Buy Now” feature. This allows bidders who did not win an auction to still buy the product they want and apply the cost of the bids they placed as a discount on the regular product price. So, you still get the item and the bids you placed previously in the auction don’t cost you anything.
So, if you want real deals game iwin 270 like a new iPad for under $34, a new Nikon Digital SLR Camera for less than $24 or a new 46” LED HDTV for under $25 – check out the action at QuiBids.
Click here to see what’s for sale right now on QuiBids and just how low it’s going for.
I was planning to write about the ending of BioShock Infinite, but it's fair to say that the internet is already saturated with analyses of it. Still, thinking about the ending of Infinite led me game iwin 270 to think about game endings more generally, and what kinds of game endings I enjoy the most. There is a definite type of ending that resonates with me more than any other: the open or unresolved ending. My favourite game endings are those that lack closure. The vast majority of games are geared towards a kind of narrative finality that requires a very definite resolution. There's a structure of objective-completion-reward that necessitates closure: you have a task, you complete the task, and you get the reward. It's a closed process. Games with open endings, however, challenge this structure game iwin . An unresolved narrative contrasts with a completable, objective-based game. As a result, there's a dissonance inherent in games with open endings, a tension between the lack of closure on the one hand, and the traditional objective-completion-reward structure of video games on the other. It's this dissonance that makes the open ending the most interesting type. Unresolved endings are often sadder, more challenging and more memorable than endings that tick all of the boxes and tie up all of the loose ends. They linger in the mind, asking questions and demanding analysis. They encourage deeper philosophical investigations into the roles and responsibilities of the player. I've had many more long discussions with friends over unresolved endings in games, books and films than I've had over neat, definite, happy ones.
One type of open or unresolved ending is the projected ending. In literature, a projected ending is one that takes place hypothetically after the end of the book. (A famous example would be in David Foster Wallace's novel Infinite Jest; the denouement takes place after the work has ended.) One of my favourite examples of a projected ending in tai game iwin 270comes from Final Fantasy VII. For various convoluted reasons I won't go into, the villain Sephiroth has summoned a meteor to scar the planet. The heroes have cast a spell called Holy to counteract Meteor. The player defeats Sephiroth at the game's climax, leaving Holy free to do its stuff. But there's a catch: in addition to destroying Meteor, Holy will judge humankind and, if it finds them to be a threat to the planet, will cleanse the planet of the human race; a twist in-keeping with the game's eco-focused ideologies. The final moments of FFVII consist of a brilliant white flash, a brief image of Aeris as she exists in the lifestream, and then… nothing. The ultimate judgment of Holy is left for the player to gamealo.net ponder.The unknowable qualities of FFVII's ending definitely contribute to its impact. It's unfortunate, then, that Square Enix decided to answer the question of FFVII's ending by game iwin 270 developing various sequels, making something that was once unresolved and highly original into something run-of-the-mill: the Holy spell worked, and it saved the day.
One of the toughest questions people ask me is the question, why? Why did my daughter die? Why do I have cancer? Why can't I find a job? Why are people sometimes so nasty to one another? I work in a church game Avatar 225 . And a church is supposed to be a safe place. It's supposed to be a place where those genuinely longing for meaningful answers can go to sincerely struggle. So, naturally, as the caretaker of a local church, much of that struggling happens right in front of me, and I consider it a privilege to sit with people in the trenches of their inner wars. It is a war indeed, for the question that needs an answer, that persistent question, why, often has no answer accessible to finite human beings Avatar 225 . And so in the absence of any kind of peace with God over his sometimes inscrutable, often painful plan, people of faith struggle. That's not always a bad thing, I think.
So what does that have to do with a video game? I finished Irrational's excellent BioShock Infinite recently, and I've had a little time since then for my mind to process the intense intertwining of story, character, setting, and atmosphere. My mind has gone to the places it is prone to wander to, the theological. Religion is a huge theme in Infinite. Religion touches almost every aspect of the game's narrative. The antagonist, Comstock, is a self-styled prophet and leader of a pseudo-Christian, religious cult-city game Avatar 222, Columbia, suspended twenty thousand feet in the sky by a mysterious, quantum, science-fiction-y force. Booker DeWitt, the protagonist, seems at first to be motivated by a desire to wipe away a financial debt by rescuing a young lady from a tower in Columbia, but the game wastes no time at all in indicating that DeWitt has a deeper, moral debt that is not so easily erased. Images and language of water, baptism, washing, and rebirth all build upon one another in the telling of this story. There is even a baby who turns out to be the lamb of Comstock's prophecy. Let me stop here and say that as a Christian and an ordained pastor, I was not in the least bit offended by the use of these decidedly Christian themes. For the most part, things like Christian tai game Avatar 225 baptism were used to move the story as well as I have ever seen them used in secular media. Levine appropriately tied rebirth to baptism. Part of what baptism represents in Christianity is dying as an old self and being raised to a new life. In Infinite, baptism is explicitly used three times as far as I can remember gamealo.net.. The first time is when DeWitt is admitted into the city of Columbia. The second time is at the end of the game when DeWitt is offered baptism, which he rejects. The third and final time is when it is revealed that DeWitt and Comstock are really the same person, Comstock being the seemingly inevitable product of Booker's religious rebirth through baptism. Baptism in that instance is the means by which DeWitt dies for the sake of undoing all the evil that he and Comstock will bring about. In each instance, baptism is used as an appropriate symbolic plot device for the point at which the players find themselves in the story. It's the initiation of a new and profound mission, a rebirth of DeWitt towards an ultimate destiny. It's the rejection of a salvation that DeWitt finds cheap and inadequate, preferring to seek the accomplishment of his mission in order to wipe away his debt, an ultimately futile effort. It takes Elizabeth bringing him back to the baptismal pool for him to fully grasp the profundity of his true debt and what that debt has earned him as a result. Even though there is death but no new life in the final baptism that ends DeWitt's and game avatar Comstock's lives, it functions quite well as a plot device given the kind of setting that these characters and their story inhabit. Levine wasn't aiming to speak theologically about the true meaning and use of Christian baptism. Therefore, I have no problem with him taking baptism and using it to tell a story separate from the Christian story.
I was planning to write about the ending of BioShock Infinite, but it's fair to say that the internet is already saturated with analyses of it. Still, thinking about the ending of Infinite led me to think about game endings more generally, and what kinds of game endings I enjoy the most. There is a definite type of ending that resonates with me more than any other: the open or unresolved ending. My favourite game endings are those that lack closure. The vast majority of iwin 270 are geared towards a kind of narrative finality that requires a very definite resolution. There's a structure of objective-completion-reward that necessitates closure: you have a task, you complete the task, and you get the reward. It's a closed process. Games with open endings, however, challenge this structure. An unresolved narrative contrasts with a completable, objective-based game. As a result, there's a dissonance inherent in games with open endings, a tension between the lack of closure on the one hand, and the traditional objective-completion-reward structure of video games on the other. It's this dissonance that makes the open ending the most interesting type. Unresolved endings are often sadder, more challenging and more memorable than endings that tick all of the boxes and tie up all of the loose ends game iwin . They linger in the mind, asking questions and demanding analysis. They encourage deeper philosophical investigations into the roles and responsibilities of the player. I've had many more long discussions with friends over unresolved endings in games, books and films than I've had over neat, definite, happy ones.
One type of open or unresolved ending is the projected ending. In literature, a projected ending is one that takes place hypothetically after the end of the book. (A famous example would be in David Foster Wallace's novel Infinite Jest; the denouement takes place after the work has ended.) One of my favourite examples of a projected ending in gaming comes from Final Fantasy VII. For various convoluted reasons I won't go into, the villain Sephiroth has summoned a meteor to scar the planet. The heroes have cast a spell called Holy to counteract Meteor. The player defeats Sephiroth at the game's climax, leaving Holy free to do its stuff. But there's a catch: in addition to destroying Meteor, Holy will judge humankind and, if it finds them to be a threat to the planet, will cleanse the planet of the human race; a twist in-keeping with the game's eco-focused ideologies. he final moments of FFVII consist of a brilliant white flash game iwin 270, a brief image of Aeris as she exists in the lifestream, and then… nothing. The ultimate judgment of Holy is left for the player to ponder. It's projected outside of the game's narrative: it happens after the ending. Did Holy destroy the human race? The epilogue, set 500 years later, shows us the prominent city of Midgar now overgrown and ruined. But even this fails to answer the significant question: what happened to the humans? Did they merely abandon the city, or is Midgar in ruins simply because there are no people left to inhabit the place? The quiet, post-credits laughter of children is a similar source of heated fan debate. The most significant aspect of the ending is the way it upsets the traditional narrative expectancy for a grand heroic action that saves the world and wins the day. It changes the identity of the player from somebody who completes an objective and saves his heroes to somebody who may be complicit in the downfall of the human race. The world is, most definitely, saved, but at what cost gamealo.net. The unknowable qualities of FFVII's ending definitely contribute to its impact. It's unfortunate, then, that Square Enix decided to answer the question of FFVII's ending by developing various sequels, making something that was once unresolved and highly original into something run-of-the-mill: the Holy spell worked, and it saved the day tai game iwin 270.