Wednesday, November 9, 2011



A search for the fabled “Atlantis of the Sands” propels fortune hunter Nathan Drake on a daring trek into the heart of the Arabian Desert, a journey that pits him and his mentor Victor Sullivan against the occult treachery of a shadowy clandestine organization and its ruthless leader. When the terrible secrets of this lost city are unearthed, Drake’s quest descends into a desperate bid for survival that strains the limits of his endurance and forces him to confront his deepest fears.

Game Features
  • Signature UNCHARTED gameplay evolves: Nathan Drake can now take on opponents in more ways than before: hand-to-hand combat with multiple opponents, contextual melee attacks, and new stealth options. UNCHARTED 3: Drake’s Deception™ also features expanded and diverse traversal moves with deeper gunplay.
  • A new breed of Action Adventure Multiplayer: Competitive and co-op multiplayer return with brand new experiences and massively expanded feature sets. TheUNCHARTED universe provides a unique multiplayer experience, for the first time bringing the exciting cinematic elements of the single-player campaign into multiplayer.
  • Award-winning storytelling and blockbuster cinematic action sequences:Combining story with dramatic action sequences and a thrilling pace, UNCHARTED 3: Drake’s Deception™ delivers an interactive cinematic experience that blurs the line between games and Hollywood films.
  • New locations, new challenges, stunning environmental detail: Nathan Drake’s journey will take you to a variety of spectacular locations around the world from Europe to the Middle East.
  • UNCHARTED raises technology bar yet again: UNCHARTED 3: Drake’s Deception™ features new innovations in sand, fire, smoke, and water dynamics and effects. Full support of high-resolution stereoscopic 3D.
  • Includes four Behind-The-Scenes Featurettes FREE on the UNCHARTED 3 disc.


source: http://us.playstation.com

Tuesday, November 8, 2011

Toys: Exercise Your Creativity Muscle With Rory’s Story Cubes®


Awarded the Dr. Toy’s ’10 Best Games’award, the original Rory’s Story Cubes® game contains nine 19mm cubes with iconic images to spark the imagination.
9 cubes
54 images
10 million combinations
Unlimited stories
The visual and kinaesthetic nature of Rory’s Story Cubes®, along with the simplicity of design and gameplay make it accessible to engage with for all ages and abilities.
How it works…
Rory’s Story Cubes are a remarkably simple and effective means for inspiring creative thinking and problem solving in all of us. Simply toss all the dice, examine each of the nine face-up images and let them guide your imagination through a story that begins with “Once upon a time…”.
The nine dice, each with an image on six sides, hold a total of 54 images. This means that with every roll, there are over 10 million combinations for you to use as the inspiration for your story. The uses for Rory’s Story Cubes are boundless. Whether it’s in a classroom or business, the process of creating and telling your own story can provide untold understanding of our language, of the world we live in and of ourselves.
The secret is not to think too deeply. Simply ‘gulp’ in the images and start talking. The story will reveal itself through the cubes and in so doing, will unleash creativity, freedom of expression and frequently, an insight to how to solve a seemingly intractable personal or business problem.
The quality cubes are moulded for durability and feel really good to hold. The take-anywhere box (60mmx60mmx25mm) is durable and popular with teachers and other professionals as a portable tool.

Monday, November 7, 2011

Video Game: Call of Duty Elite Now Available on Xbox Live

Two hours of double XP with registration.



In preparation for tomorrow's launch of Call of Duty: Modern Warfare 3, Call of Duty Elite is now available on the Xbox Live Marketplace. The console version of Activision's subscription service offers groups and clans for connecting with other Call of Duty players, stat tracking, heat maps and weapon information. Anyone who registers will also receive two hours of double XP. 
Players will also have the option to upgrade to a Premium subscription, which will offer access to all upcoming Modern Warfare 3 DLC. The subscription is available for $49.99 per year. The console version of Elite supports both free and Premium players, and an upgrade can be purchased at any time. Elite is available as a free 99.36 MB download on xbox.com or via console.


source: www.ign.com

Software: Adobe Photoshop Lightroom 3 review

Today’s launch of Photoshop Lightroom 3 brings six major new features that make it a compelling upgrade for photographers.



Photoshop Lightroom is increasingly the package photographers turn to when they want an efficient way to organise and adjust their images.
While free programes such as iPhoto are fine for managing pictures from compact cameras, they don’t offer the features that are needed to take full advantage of digital single-lens reflex (DSLR) cameras.
Most importantly, Lightroom allows full editing of Raw files produced by DSLRs. These files contain the unedited, raw information about a scene that a camera sensor collects, whereas the Jpegs preferred by compact cameras throw a lot of that information away. The extra information allows Lightroom to apply more significant adjustments to the pictures, such as making cold-looking images appear warm, without any loss of quality. It also allows pictures to store the details of more shades of colour, resulting in better prints on inkjet photo printers.
And it’s not just picture quality that attracts photographers to Lightroom: the program’s powerful features for adding keywords and captions to pictures are key to its appeal. These make finding every picture you’ve taken of a, say, dog extremely easy, even years after they were taken.
So what has Adobe done to make Lightroom 3 a worthwhile update? Firstly, pictures will look better if processed in version three. The raw-processing engine behind the software has been overhauled, delivering better quality from a much faster application, and it also now delivers a really effective noise-reduction feature. If you take a lot of indoor pictures, it’s only a matter of time before you have to contend with noise in pictures – speckles caused by the camera failing to cope with the conditions. Sharpening is also more natural than it was.
Second, Lightroom will now remove distortion from photos, for example straightening lines that are converging. These occur when the camera is pointed upwards in order, for example, to fit in the full height of a building.
If Lightroom has a profile for your lens, it can also automatically make corrections for the inevitable limitations in the design of the lens – for example, removing vignetting. If Lightroom doesn’t have a profile, it’s likely that one will appear soon, because Adobe has released a free, downloadable application to help users create profiles and share them over the internet.
Third, Adobe has improved the slideshow module, which now allows users to export slideshows as video files. This is great for uploading your images to Facebook in an interesting format, or for preparing to show your pictures on another machine. Usefully, videos can be exported in a range of resolutions, and background music can be added from whatever is stored on your hard drive. With a program such as iDVD, you can burn them on to DVDs and hand them out to friends and family.
Fourth, a built-in upload-to-Flickr facility has been introduced, which works like a treat. Exporting pictures onto an iPhone is similarly easy.
Fifth, the printing module, which was always a joy to use, has been improved, with the ability to print layouts with different pictures at different sizes on the same page. As I frame a lot of pictures, I rely on the module to speedily print at the exact sizes I need – it’s much simpler to get the results I’m after than using Photoshop CS5 or a desktop publishing package.
Sixth, Lightroom offers tethered capture – which allows 26 Canon and Nikon cameras to be plugged into the computer and for the pictures to go straight into Lightroom, rather than on to the memory card. This is ideal for fashion and commercial photographers taking pictures indoors, giving them the ability to instantly review the images they are taking on a big screen.
These six new features together have made Lightroom 3 a significant improvement over Lightroom 2. At a recommended retail price of £232.68 (for both Mac and PC), amateur photographers may wince, but it does put the best professional tools within their reach and is an application I wouldn't want to be without. For existing users, upgrades are around £75, which makes it a must.

Book review: Steve Jobs by Walter Isaacson



Book: Steve Jobs
Walter Isaacson
Hachette
656 pages 
Rs799
One of the weird things about quantum mechanics is that an electron can be in two places at the same time, which obviously makes it a difficult subject to understand. Steve Jobs can be equally hard to pin down. One moment he seems like a hero and the next he’s a zero. Reading the former Time managing editor, Walter Isaacson’s journalistic, anecdote-filled biography of Jobs can keep you oscillating between the two positions, until finally an apple falls on your head and you get it — that Jobs was possibly in both places at the same time.
Jobs himself thought in binary terms, according to Isaacson — ideas were either ‘great’ or ‘crap’ and never in between; sometimes they could be ‘crap’ one day and ‘great’ the next day, when he would claim to have thought it up himself.People too were either totally amazing or complete “shitheads”. Perhaps fittingly, therefore, perceptions about Jobs too have tended to be extreme over the years: was he a passionate revolutionary or a self-centred asshole, a true innovator or a cheap idea stealer, a real producer of new things or just a glib marketer?
To the credit of Isaacson, as well as Jobs for letting him do it, he does not shy away from even the most personal or damaging of stories about the ex-CEO of Apple whom he interviewed 40 times in a period of two years after accepting his invitation to write the biography. Nor did he take everything Jobs told him at face value, interviewing hundreds of people who knew Jobs or worked with him to get their versions of the stories.
Whose idea was it?Jobs claimed for instance that it was a Microsoft engineer’s bragging at a party — about a tablet PC Microsoft was developing — that provoked him to come up with the iPad. He told 
Isaacson, “This dinner was like the tenth time he talked to me about it, and I was so sick of it that I came home and said, ‘Fuck this, let’s show him what a tablet can really be.’” The next day, as he recalled it, he gathered his team and told them he wanted a touch-screen tablet PC with no keyboard or stylus.
Apple’s head of design, Jony Ive, one of Jobs’ blue-eyed boys, had a different recollection. He told Isaacson that his design team had begun experimenting with a touch-screen input without any prompting from Jobs. In fact, Ive did not want to show it to Jobs prematurely because he might say “this is shit” and snuff the idea. “I realised that if he pissed on this, it would be so sad, because I knew it was so important.” When he was ready, he set up a private demo for Jobs, who was less likely to make a snap judgement when there was no audience, and luckily Jobs loved it.
Like a good journalist, Isaacson ‘shows’ us what Jobs was really like through a series of such tales which make the 630-page bio a good, easy read. The quasi-journalistic approach also serves to put a veneer of objectivity over the discourse, but you soon realise whose side the writer is on.
‘Reality distortion field’In story after story it’s clear that Jobs had few scruples, lying or cheating or being manipulative whenever it suited him. But his acolytes had a euphemistic term for such behaviour — they said Jobs had a ‘reality distortion field’, that in his own mind he was almost convinced somebody else’s idea was really his, or that something really happened in the embellished way he would put it later. Isaacson is so willing to rationalise away every inconvenient truth about Jobs that you begin to wonder if he got infected with the reality distortion field too.
This is especially apparent in the accounts of Jobs’ personality, his ill-treatment of co-workers, the cheating of his co-founder Steve Wozniak, and his troubled relationships. Isaacson tries to draw some pop psychology interpretations from the fact that Steve was given up for adoption by his then unmarried biological parents,and then pretty much did as he liked growing up with his over-indulgent adoptive parents. He also attributes to him a Nietzschean belief that the ordinary rules of life did not apply to such a super-being as himself.
Folk singer Joan Baez, with whom Jobs had a romance for a few years, sums it up differently. “He was both romantic and afraid to be romantic,” she said. Tina Redse, with whom he had an on-and-off relationship for the longest time before getting married, felt he had a Narcissistic Personality Disorder. “The capacity for empathy was lacking.” And yet, Jobs fell in love with Laurene Powell, a graduate student at Stanford Business School, and she was with him more than two decades later when he died. More zeroes and ones.
Gets better with ageThe real explanation may actually be quite simple — like most people Jobs got better at handling both his life and his work as he got older. This becomes clearer in the story of his work which forms the bulk of the book. This is where Isaacson comes into his own with his journalistic sense for detail and analysis as he presents a short history of personal technology.
One of the threads running through this aspect of the book is a comparison with that other lodestar of the personal tech revolution: Bill Gates. Apple was first off the block with the Macintosh, which had a graphical user interface (GUI) that allowed you to click on icons with a mouse instead of typing out esoteric commands like ‘md c:test’ on a black screen.
But Jobs would allow the Apple software to run only on the Mac. This left the door open for Microsoft to develop its own GUI-based Windows operating system for all other PCs. “Windows has won. It beat the Mac... An inferior product won,” was Steve Jobs’ typically ungracious admission after the release of Windows 95.
It wasn’t as if nobody at Apple had anticipated this. Co-founder Steve Wozniak wanted to license the Mac OS to other vendors from the very beginning, like Microsoft later licensed Windows. “We had the most beautiful operating system,” he told Isaacson. “But to get it you had to buy our hardware at twice the price. That was a mistake.”
Closed versus openThe rivalry between Gates and Jobs went beyond personal ego and business. As Isaacson notes, it represented two diametrically opposite approaches to personal technology. Jobs believed in a closed environment where hardware and software would be integrated with little scope for tinkering by third parties or users. Gates produced standard software that would run on machines from different makers, making them interoperable with each other. At a forum in Cambridge, when the design advantage of Jobs’ approach was pointed out to him, Gates was dismissive: “If you want, I’ll get you a can of paint (to have your computer in a colour you like),” he sneered.
And yet, ironically, in his second innings at Apple, this same end-to-end integration proved to be the formula for success in the iPod which turned around the fortunes of both Apple and Jobs. In 2002, the digital music domain was a mess — the record companies were struggling with rampant piracy, and at the same time their subscription models in partnership with companies like Sony, where users could only stream their music and not download them, just did not appeal to consumers.
Along came Jobs with a seamless solution: an iTunes store where record companies could sell their songs for 99 cents a download (29 of which went to Apple), iTunes software that was user-friendly, and a sleek, white iPod at the other end. Belying the sceptics who predicted that nobody would pay for digital music, one million songs were bought in the first six days.
Bill Gates’ acknowledgementIsaacson quotes Bill Gates himself, from an email he sent to colleagues at Microsoft after the launch of iTunes, to put a finger on what really made Jobs click time and again: “Steve Jobs’s ability to focus in on a few things that count, get people who get user interface right, and market things as revolutionary are amazing things... I think we need some plan to prove that, even though Jobs has us a bit flat footed again, we can move quick and both match and do stuff better.”
But Jobs went on to show with the iPhone and then the iPad that he had an intuitive sense of what consumers needed and a unique end-to-end integrated vehicle to deliver exactly what they needed. Isaacson’s conclusion is that Jobs may have lost the battle with Windows earlier but he won the war in the end as Apple became the world’s most valuable company.
He may be right but it’s too early to tell. Google’s open-ended Android may currently be too fragmented with different versions running on different mobile phones and tablet PCs. But who can predict that it will not eventually become the standard on all non-Apple phones and tablets, just like Windows did on PCs?
Maybe, for a really good biography you need a period of reflection after a person dies, rather than rushing to print. And so the true legacy of Jobs for the time being will have to be in two places at the same time, in the slot for zero as well as the one for hero. As Jobs told Isaacson in one of his last interviews: “I like to think that something survives after you die... But on the other hand, perhaps it’s like an on-off switch. Click! And you’re gone.”