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Fucking Games! - Those Game Center Girls.rar [BEST]

needs, agreed. I wish more games with grinding made it optional, especially since saves have to be thrown out after each update and they randomly get deleted/disappear meaning we have to repeat the grinding most of the time we play. They should include some basic cheats, even if it's "just" unlimited resources and money, that way people can grind their first playthrough if they want but otherwise skip it.

Fucking Games! - Those Game Center Girls.rar

I've played the Switch regularly since release, racking up hundreds of hours between a variety of great games. And for all its flaws, the Nintendo Switch is still an excellent budget-friendly console, even more than half a decade later.

The Joy-Cons do support motion controls, but very few games use these controls well, and even the few that do understand that they work best in small doses. For example, one-off Zelda puzzles that require you to flip the controller, or motion-assisted aiming in Splatoon and Metroid Prime Remastered.

Between these new exclusives, popular indie games like Undertale, and ports from older consoles like Metroid Prime, you won't ever have trouble finding games to fall in love with on the Switch. There's also no signs of Nintendo slowing down with new Switch games, as several big releases are on deck for 2023, including "The Legend of Zelda: Tears of the Kingdom."

The only other downsides to the Switch's game library are that first-party titles rarely go on sale (although they usually start at $60, which is less than PS5 or Xbox games), and it's hard to browse for new games on the eShop, which is filled with a massive amount of shovelware trash.

This is especially true if you're playing online. Nintendo's online infrastructure is notoriously crummy, meaning input lag and random disconnects are common. You also can't voice chat unless you use a specific smartphone app. Despite this, most multi-platform games will still pair you up against players on other systems, putting you at an immediate disadvantage.

If any of these drawbacks are deal breakers, then you're better off investing in a PlayStation or Xbox, which are much more powerful and feature-filled systems. Nintendo's main focus has always been great games and unique forms of play, which is what you'll get with a Switch.

If you're willing to pay more, there are also a couple of other handheld consoles worth keeping in mind, including the Steam Deck. The Steam Deck is more expensive than the Switch and doesn't have Nintendo's exclusive games, but it supports tons of popular PC titles and can handle much better graphics. You might also consider the Logitech G Cloud, a handheld that's designed for streaming Xbox Game Pass titles.

Ar tonelico[a] is a multimedia project series made in collaboration by Gust Corporation and Banpresto (currently subsidiaries of Tecmo Koei and Namco Bandai Games respectively) consisting of video games, manga, and an OVA. The name of the series is also the name of the amplification complex composed by three monumental towers that appear in the aforementioned works. Throughout the life of the series, it was directed by Akira Tsuchiya (Gust) and produced by Atsunori Kawachi (Banpresto). The main theme songs for all of the games were sung by Akiko Shikata.[1] Recently, it was succeeded by the Surge Concerto series.

The Ar tonelico series is set in a planet called Ar Ciel, which lost its land in a great man-made catastrophe a long time ago, and it is a work of science fantasy that depicts the interaction between the protagonist and the heroines, the latter generally being members of a race called Revatail (romanized as Reyvateil in the English-localized versions of the games and related material), which can use a special ability known as Song Magic. During the course of the trilogy of games, the people were forced to live on three gigantic structures they made after the land was lost, and due to the loss of communication between the regions that form Ar Ciel, the people eventually came to believe that the region where they lived was the entirety of the "world" that existed.

A constructed language known as the Hymmnos Language (called Hymnos in English-language releases) is also present throughout the materials that form the series, used as part of the dialogue in the games as well as part of the lyrics of the songs heard in most audio releases related to the series, and used as a decorative element in parts of the interface, visual effects and backgrounds. The meaning to these multiple messages isn't apparent in the works themselves, but the Hymmnos language has a detailed vocabulary and set of grammar rules that can be read in detail over at the official site,[2] which can be used as a guide to translate all phrases written in said language to Japanese. And while it hasn't received an official translation, all of this information has been translated for English-speaking audiences by enthusiastic fans of the series. Therefore, the players can discover hidden meanings and the feelings the characters singing the songs have hidden in its lyrics upon translating them.[3]

The first chapter in the series, released as a game for the Sony PlayStation 2, gathered quite an appreciation due to its depictions of several topics, beginning with the usage of the Hymmnos Language for its songs, followed by the union of an elaborate world setting with a charming cast of characters.[4] The following games introduced new ideas to the formula while continuing with the established basis for the series, as well as also receiving expansions into multimedia territory with the release of material such as manga and Drama CDs, which having songs and music as their core, further expanded the already complex world setting. Therefore, several products such as CDs compiling the songs found in the games and books explaining the intricacies of the game's world were released.[4]

The games introduce the usage of Song Magic in battle that has become unique to the Ar tonelico series, and even though the depiction of its usage varies greatly from a game to other, it has a few common elements throughout the series: the party is composed by Vanguards and heroines, and the Vanguards must protect the heroines as they sing their Song Magic and until they can activate it, as Song Magic displays stronger effects the longer the heroines sing it.[5] Additionally, there are times when either ally or enemy Reyvateils will be singing Hymmnos songs, which will become the BGM for that particular battle, demonstrating the importance the Songs have in this series.

Additionally, the games have systems that are similar to the "Alchemical Synthesis" that has a central role in Gust's famous Atelier series games: "Grathmelding" and "Synthesis", which allow the players to create a large variety of items.

While the three games have their stories set in different places and have different characters, they fundamentally share the same world. The world of Ar tonelico: Melody of Elemia, Sol Ciel, is formed by an enormous Tower called "Ar tonelico" and a floating continent called the "Wings of Horus", while the world of Ar tonelico II: Melody of Metafalica, "Metafalss", is a harsh world formed by a small tower surrounded by an artificial land called the "Rim", and finally, Ar tonelico Qoga: Knell of Ar Ciel is set in world called "Sol Cluster", in which a white tower with a unique design is surrounded by a rock formation called the "Great Fang".

The term "Wills of the Planet" refers to the souls that compose Planet Ar Ciel, as well as the agglomeration of said souls. The first Wills are called the "Wills of Origin", as they are the three original Wills that created Ar Ciel: "Juklizda", "Clyuue" and "Horus", and the other Wills were derived from them as they were needed for the structuring of the Planet.[6] A countless number of Wills of the Planet exist in Ar Ciel, but at the current point in time in which the games take place: the Third Era, several of them have faded away, but their number is roughly equal to that of the humans that still live on it.[7]

As the order of configuration for the form of the Ports goes from Origins to βs, and from βs to Third Generations, the more it advances, the farther it gets from the predetermined patterns that were programmed for the ports of the Origins, and the more chaotic and fuzzy their shapes become.[22][23] Long ago, the Gust Shop gave away removable tattoos in the shape of the Install Ports of the heroines from the first and second games as bonus campaign items,[24][25] and as it can be seen from the fact they were preconfigured designs,[20] the Ports of the Origins are the ones that resemble the most a complete circle.

In the games, writing it with the starting letter in uppercase is used to refer to the Song Magic, lyrics and spells that are sung in the Hymmnos Language in order to distinguish them from normal songs. This same distinction is also applied to the verb "to Sing". In Japanese, the distinction is made by using the kanji "詩 [ja]" with the reading "uta" instead of "shi", and using "謳う" instead of "歌う" (both read as "utau") for the verb.

The name given to the special Songs that can control the Towers, which are formally known by the name Hymmnos Extracts. They are typically found sealed in containers called Hymn Crystals (called Hymmne Crystals in the Japanese version). They are different from typical everyday Song Magic (Hymmnos Words), and by extracting the "Feelings" contained in the device inside of the crystal in a ritual called the Download Ceremony, Reyvateils become able to craft and sing a new Song out of them. However, all Reyvateils basically need to have a control key called the "Hymn Code" (Hymmne Code in Japanese) in order to Download a Hymmnos Extract, so only specific Reyvateils are granted the privilege of the Downloads (however, this doesn't apply in the case of the IPDs: due to their different Song Server, they don't need Hymn Codes at all, so no IPD Reyvateil has a Hymn Code either).However, it is because of this power that the Reyvateils have become such a prized existence in the era the games take place, as there were technologies that allowed to use Hymmnos directly and without doing so through a Reyvateil intermediary, but all such technologies were lost in the two great catastrophes that happened centuries ago.[27] 041b061a72


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