Inversion Free Download

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Inversion Free Download Unfitgirl Inversion is a third-person shooter with a difference, or at least that’s what it would like you to think. The difference being that on the streets of Vanguard City the normal laws of gravity no longer apply. Down is up, and occasionally it’s left or even right. While this undoubtedly has the potential for exciting gameplay – think of the rotating hallway scene from Inception, for instance – it’s a conceit that is never fully explored. And so it remains little more than a flimsy gimmick, one hopelessly incapable of hiding the fact that Inversion is a middling third-person shooter. You play as Davis Russel, a young police officer, whose daughter is kidnapped following a bloody invasion led by a race of thuggish aliens known as the Lutadore. You must find her with the help of Leo Delgado, your partner on the force. But the arrival of these intergalactic savages coincides with a series of strange phenomena witnessed across the city. In isolated pockets, the laws of gravity no longer obtain. And despite their feral appearance, the Lutadore seem able to manipulate gravitational field using advanced technology. And it’s this meddling with physics where Inversion attempts to distinguish itself from the herd. Early on in the story, Russell manages to pilfer a Gravlink – a weird contraption, comprising of a chrome harness and arterial pipe containing pulsating fluid. (Something from Doctor Freeze’s summer collection, perhaps). Initially, you can only create pockets of zero gravity. But once you start to play around with it you realise it’s nothing really new. When you hoist enemies out of cover, you’ll be reminded of Mass Effect’s Singularity biotic, and when you use the Gravlink to hurl floating object across the screen, you’ll have flashbacks to Dead Space’s stasis ability.Unfitgirl.COM SEXY GAMES

While this isn’t a bad thing – both are fun gameplay mechanics – Inversion executes neither very well. Firstly, the accuracy of creating a pocket of zero gravity around a desired object is hit-and-miss. And in the time it takes you to elevate the right object and select it, you’re likely to get shot. It’s frustrating, as it ultimately forces you to play the game as a straightforward shooter. And if you do manage to select the right object – you can wield anything from cars to dimpled spheres of gasoline which ignite on impact – you don’t even have to be all that accurate with where you lob it. Throw a car vaguely in the direction of an enemy, and they’ll burst into a shower of blood. Instead of it being a fine tool, allowing for interesting gameplay possibilities to unfold, the Gravlink a blunt instrument, which is at its most effective, unsurprisingly, when throwing things. Later on in the game, the Gravlink is upgraded allowing players to create localised fields of heavy gravity, which can be used both offensively – enemies can be pinned to the floor – and defensively – containers suspended in the air can be pulled down to create makeshift cover. The latter has potential, but again it’s never realised. There’s a couple of sections in the campaign when you’re encouraged to make your own cover. But it’s neither spontaneous nor creative: you’re not at liberty to reshape the environment at will to gain an advantage over your opponent, which would be interesting within the context of a cover-based shooter. Instead, you simply pull down a series of highlighted objects suspended above you, creating a shielded pathway. It’s all too rigidly staged to be rewarding. Inversion also boasts combat within zero gravity, in which you can take cover behind floating debris.

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It sounds exhilarating – combat across multiple planes of space – but again, the execution kills the mind-bending promise. Moving between cover isn’t as fluid as it should be. You can propel yourself to nearby cover if it is highlighted, but selecting the right piece of cover is tricky. It won’t always let you select the one you want – and during those moments of irritating indecision, while tussling with the temperamental controls, you’re likely to get killed. The saddest thing is it encourages you to adopt a conservative style of play: you won’t be backflipping between cover, since it’s more beneficial to stay where you are and pick off enemies as they come to you. Which all kind of defeats the point of it being in zero gravity. There are moments, however, when Inversion almost realises the potential of its central conceit. But they’re fleeting. They come when your centre of gravity shifts – known as ‘Vector Shifts’ – and the battlefield is turned on its side. The floor suddenly becomes the side of a building, from which you can shoot Lutadore on the street below – but it’s not below, it’s at 90 degrees to the wall you’re standing on. Following me? Imagine that M.C. Escher had specialised in level design, not lithographs, and you’d get close. But the game never fully explores the strange possibilities this could have on level design. And so, most of Inversion unfolds along a singular plane where the mind is bored, not bent. For the most part, Inversion plays like a straightforward third-person cover-based shooter. And in this capacity, it’s decent enough. Yes, the guns and characters are frightfully generic, and the world itself feels all too familiar – broken cityscapes and parched badlands where savages run amok. It’s all strongly redolent of Gears of War, but lacks the polish or distinctive arsenal.SIFU

In fact, Inversion’s weapons brazenly defy the laws of physics in other ways. The shotgun has the range of an assault rifle, and an assault rifle that of a sniper rifle. It’s baffling, and underscores the game’s lack of fine tuning. Saying that, as with Gears, Inversion is best tackled in co-op with a friend: the camaraderie will not only see you through the game’s duller sections but pay off towards the end when the game experiences one or two severe difficulty spikes. If you’re playing solo, however, be prepared to play medic frequently to your formerly-competent AI buddy. There’s something strangely familiar about Inversion and its topsy-turvy, postapocalyptic world. It’s not so much that it takes inspiration from the greats of the shooter world as that it rips them off entirely. Trying to find an original idea in this cover-based shooter is as hard as trying to find depth in its ludicrously over-the-top tale of planetary invasion, or in its painfully generic multiplayer offerings–there simply isn’t any. For all the bombastic set pieces and gravity-based blood and guts it throws at you, you’re left with nothing but a feeling of deja vu: you’ve jumped from these exploding buildings, splattered these heads with a sniper rifle, and guided this meatheaded protagonist to victory many a time before. And yet, there’s a certain sick pleasure to be had from revelling in Inversion’s inherent B-movie qualities. Take the story–a mindless sci-fi romp so full of plot holes and action cliches it’s laughable. It stars one Davis Russel and his partner, Leo Delgado–a pair of hotheaded city cops. They might not do things “by the book,” but dammit they get the job done. Davis has a family, and it just so happens to be his daughter’s birthday, and you can see where this is going a mile off.

Dynamic Combat.

Cue an attack from a mysterious race known as the Lutadore–who suddenly gain that name halfway through the game without any explanation–the arrival of gravity-powered weapons that turn the city into rubble, and the nonchalant slaughtering of masses of Lutadore to find Davis’ now-missing daughter. Attempts to forge emotional attachments to the characters are hysterically bad. There are scenes where Davis pines for his daughter, holding back his tears, only to have his partner tell him to man up and get back to killing everything in sight–who needs therapy when you’ve got a whole planet full of bad guys to splatter? Wooden voice acting doesn’t help matters much, and the whole thing just becomes incredibly unbelievable. The Lutadore are brainless morons, but somehow have the ability to manipulate sophisticated gravity technology. And boy are they mad, ripping up cities, killing civilians and kidnapping children. It’s not clear why, though. Maybe they didn’t get that shiny red bike they wanted for Christmas. Fortunately, you can skip through the many long cutscenes and jump straight into the action. It’s standard third-person, cover-based fare, as made famous by the Gears of War series–in fact, it’s very similar to the Gears of War series. The handsome visuals render the crumbled skyscrapers of the city and the lava-filled world of the Lutadore with plenty of detail, providing lots of conveniently placed concrete blocks for you to duck behind, and rocky outcrops and ramshackle houses to use too. It basically goes like this: shoot, take cover, cry about daughter. Shoot, take cover, kill hundreds with a mounted machine gun. Shoot, take cover, make smart-ass comments about dead people. Shoot, take cover, cry about daughter again.Remnants

Repeat ad infinitum. Some action-packed set pieces, such as escaping from a collapsing building or fighting upside down on the glass ceiling of a skyscraper, break up the action. As too does the gravity-based weaponry, which lets you pick up objects like cars and exploding barrels and fling them at enemies for some gratuitous splattering. It’s sluggish, though, meaning it’s often much easier and quicker to attack enemies with your standard weapons. Plus, while there’s certainly scope for gravity-based puzzles, your powers are used only in the most basic of ways to remove debris blocking your path. Fortunately, boss battles make better use of your gravity powers, with some requiring you to levitate blobs of lava and fling them at a giant robot, while others have you using heavy gravity to pull down crates to use as cover. Not that you have much of a path to choose from. Your journey is one long jaunt down a set path full of mindless shooting and the occasional gravity-free area where you lurch from one platform to another in open space, firing off the odd shot at an aimlessly floating enemy. The enemies aren’t particularly intelligent, often leaping around without a care in the world, leaving you free to easily pump them full of bullets. They fare better on the ground, but even there they occasionally wander straight into your line of fire, and they certainly don’t bother to flank you or use space wisely. Later stages of the game introduce zombie-like creatures that serve no purpose other than to be easy pickings for your disappointingly weak-feeling assault rifle or shotgun. The creatures do at least make for a good scream-filled BBQ when you get your hands on the flamethrower.

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There are other weapons too. A pulse rifle, pulse shotgun, and rocket launcher all get an outing towards the end of the game, but like the standard assault rifle, they lack impact and make it hardly worth the effort to use them. The weedy weapons do little to inject excitement into the multiplayer, which already suffers from unimaginative modes and level design. Standard Deathmatch, Team Deathmatch, and Capture the Flag modes are an exercise in tedium, while King of Gravity–where only one player has gravity powers until another kills him to steal it–is incredibly unbalanced. If you don’t have the power, then expect to spend most of the match floating aimlessly in the air while the king picks you off with little effort. There is a further multiplayer option in the form of a co-op mode for the campaign, but outside of a few instances where you have to give your partner a leg up, there’s little to differentiate it from the single-player, with no new bits of dialogue and narrative, or any new areas to explore–you might as well be playing the game on your own. Unless, of course, you’ve got a friend in tow that shares a similar love of cheesy one-liners and B-movie narratives, in which case the wooden dialogue, wacky story, and gut-busting gore are perfect for poking fun at. Oh, and the twist in the tale. It would be a waste to spoil it here, but suffice it to say that it ranks as one of the most incredibly ridiculous plot twists ever conceived, and while it’s certainly unexpected, it most definitely does not make sense. There is not a single original idea to be found in Inversion. That’s not inherently a bad thing, but for all the game’s attempts to stand out from the crowd, it really doesn’t do anything to differentiate from the titles it liberally pinches from. A third-person cover-based shooter with gravity manipulation, Inversion is basically Gears of War with Half-Life 2‘s Gravity Gun and Dead Space‘s Zero-G sections.

Again, not a bad thing on its own, but Inversion does none of its pilfered concepts any real justice. Standing in for Gears‘ Locust horde are the Lutadores, a group of bulky barbarians who look like they could exist in any of Epic Games’ recent titles. These bellowing raiders have invaded a place at a time to do things, kidnapping the wife and child of a protagonist who probably has a name. The story earnestly attempts to make the player care, but the delivery is so lacking in energy and the scenario so vague that my mind glazed over with every cutscene. It’s telling that the game’s primary antagonist is reintroduced in passing roughly ten minutes before the final boss encounter, as if the developers suddenly realized they were building to a fight with a guy who had, until that point, done absolutely nothing. As a shooter, Inversion is not too terrible, serving up a bowl of straightforward, paint-by-numbers cover-centric combat. You go from point A to point B, hiding behind convenient walls and shooting at chunky opponents with a range of bog-standard guns. Every now and then, a drill will come out of the ground and unleash more enemies until it’s destroyed with a grenade — yes, just like Gears‘ Locust holes. There’s room for one online co-op partner, and the occasional machine gun turret to mow down waves of incoming enemies. It’s a guided tour through every single third-person shooter ever released, only the guide is a tired old man who’s counting the minutes until his shift ends. The ability to manipulate gravity serves as the dividing line between this game and the one it’s copying, and it admittedly adds a little more fun to the fights. The so-called GravLink has two settings, one that reduces the gravitational pull within a certain radius, and one that increases it.

Using these two settings, players are able to aim at a chosen spot in the environment and cause items to either float or stay pinned to the ground. Floating objects (and enemies) can be pulled toward the player and shot back with a huge amount of force, making for some nice improvised kills. A nice touch is the ability to raise balls of gas or lava and fling them around, directing explosions and spreading fires. For the most part, the gravity manipulation is somewhat amusing, though it can be fairly unwieldy. With so many objects floating around, it is sometimes difficult to grab the thing you want, and the GravLink blasts have a nasty habit of hitting cover and other objects, regularly failing to land on their intended targets. Still, being able to lift annoying enemies out from behind cover and riddle them with bullets is a pretty sweet feeling. At various points in the adventure, players will enter areas of zero gravity where they’ll need to float from cover to cover. As seen in Dead Space, it’s a simple case of selecting the next bit of debris and tapping a button to fly over, though enemies may turn up to initiate a zero-G shootout. There are also areas where the gravitational pull can be shifted by walking into various hotspots, making the entire world spin as players run up buildings, cling to ceilings, and fight enemies who may be stood on separate gravitational plane. These fights in particular are surprisingly well executed and quite remarkable, but there’s simply not enough of them. Over the course of the six-to-eight hour campaign, only a handful of minutes are dedicated to these sections, when they ought to have represented the full product. Beyond: Two Souls

Add-ons (DLC): Inversion