Juegos online

Una recopilación de juegos que merece la pena probar.


Mario flash 2

Adaptación libre de mario con bastantes niveles.

(Pulsa sobre la imagen para jugar)



El comecocos de toda la vida.

(Pulsa sobre la imagen para jugar)


Panda Jet

Ayuda al panda a llegar lo mas lejos posible, con el dinero que consigas modifica su equipo para mejorarlo

(Pulsa sobre la imagen para jugar)


Test de inteligencia

Aunque no es un juego en si esta bien para pasar el rato y competir con algún amigo.

(Pulsa sobre la imagen para jugar)






Renegade X trailer asks you to just do it up

Renegade X is an fan-made reimagining of C&C: Renegade—the Command & Conquer FPS that seemingly everyone liked more than I did. A new trailer has emerged alongside the game’s Open Beta #4 update, which adds new maps, modding tools and an in-game jukebox, among other changes.

Here’s a list of the patch’s main features:

  • 3 new levels: Under, Canyon, and Complex.
  • Auto-patcher
  • Modding/mapping tools
  • Ingame Jukebox
  • Smoke Grenades
  • Vehicle drops
  • Building destruction changes: tier one infantry remain accessible after Hand/Bar destruction, Refinery and Powerplant destruction less severe
  • Optimization for better performance and crash fixes
  • Vehicle kill messages (seeing what destroyed your vehicle)
  • Timed C4 countdown (audio and visual indicators)
  • EMP grenade changes
  • Pawn and vehicle movement adjustments
  • New vehicle locking system
  • Idle-player kicking system (with warnings)
  • Improved spotting system and radio visuals
  • New Havoc/Sakura specific explosive arrangements
  • New C&C-mode themed loading screen
  • Oodles of fixes, balance changes, and more

If you’d like to give it a go, you can download Renegade X here, for free.

Or, if spurred on by that trailer, you just want to listen to more Frank Klepacki…

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BioWare on Jaws of Hakkon and their approach to DLC

Jaws of Hakkon

The first new singleplayer content for Dragon Age: Inquisition, Jaws of Hakkon, was announced on Monday and released yesterday. I spoke to BioWare’s Chris Pickford, producer on Inquisition and its singleplayer DLC, about Jaws of Hakkon and the plan for the future.

What were your goals when planning out this first DLC? Presumably it’s been in the works for a while.

We started this during the certification period of Inquisition. What we really wanted to do was marry the size of our exploration areas with the complexity of our plot areas—to try and get a ‘critical path’ plot style, which has 2000+ of dialogue, and marry that with our exploration areas which offer a huge amount of space.

With Jaws of Hakkon, what we’ve tried to do is thread the critical path narrative, the cutscenes and ambient storytelling through a large vertical space. Somewhere where you can climb up trees and go into the depths as well—but when you go through the plotline it’s got cinematics and high-quality character moments as well.

Given that you started this project before the game was released, how much were you able to respond to feedback in this DLC and how much of it has to go into whatever comes next?

That’s a fair question. In actual fact, the game was released in November and one of the things we heard loud and clear from the fans was that they really enjoyed the depth of the story—that’s what they were paying for. They wanted to see more lore, more interesting characters, more people to interact with. That’s one of the focuses for this DLC was to push how that kind of content can exist in a large space. Something that is interesting to maneuvre over and that, when you get to the key plot points, has the high-end parts of Dragon Age: Inquisition as well.

What you’ll find here is that the Avvar—the barbarian characters—we’ve gone deep on them. You’re gonna see them doing things as well as you’re told about them doing things. You’ll see characters that are interacting a lot more with the world and the environment in response to your presence. Instead of putting things in a cutscene, we want to put you as the player character into the events that are happening.

It’s something that we’ve wanted to do a lot more in the past, but for this DLC it was something that we’ve been able to build from the ground up.

One thing people want from DLC is new stuff, but—having a fair amount of experience with BioWare fandom—what people want is to see their specific favourite characters back again. Is that a challenge, when you’re scoping this kind of thing out—which actors are available, and so on?

Oh yeah. It’s a fantastic problem to have, I’ll tell you that. Having people say ‘I really want to see more of X or Y’ is a great problem from a design perspective.

One of the characters who was most well-received was Scout Harding. She had kind of a B-roll in Inquisition but for Jaws of Hakkon, because she was so well-received in the main game, we pushed her more to the forefront. She’s in the world, you can interact with her and talk to her, and she’s going to give you her opinion about what’s going on.

Particularly, given that Scout Harding is incredibly good at finding things, having her along for the ride to find out where the last Inquisitor got to is a bonus for the Inquisition.

Is this template, an expansion that costs this much and includes this much stuff—is that the pattern going forward for singleplayer Inquisition DLC?

This is our first look at it. In this day and age in the games industry there’s no such thing as a template—at least in terms of a BioWare experience. We’ve seen that with Mass Effect. There are different types of content and, honestly, it’s a very long complicated and difficult process to figure that out.

At this point we’ve tried to merge the critical path, the exploration experience and the dungeon experience into one coherent, long quest. We’re hoping that fans enjoy that, but obviously what we’re looking for now is feedback.

So each project is a case of bringing together certain parts of the base game and reconfiguring them?

Each DLC will achieve the goal it needs to achieve. We don’t go out and say “we need to build it to this template”. We say “what is the experience we now want to provide.”

So with Black Emporium—which is now in beta, and which players have been asking for—we ask, “what do people actually get out of the Black Emporium?” Things like the face-changing, the mirror of transformation. We take it on a goal by goal basis. It’s the only way to do it, because if we just stick to the template the players see through that. They see through that very quickly.

There’s precedent in Dragon Age—which there wasn’t in Mass Effect—for DLC that went in completely different directions to the main campaign. ‘What if’ scenarios, different lead characters and so on. Is that a direction you would consider?

The only answer I can give you on that is that we’ve been watching the forums, even reddit, and we have a long list of things that we understand that people want out of Dragon Age. We evaluate each on a case-by-case basis. Some of these things fit together and they can form part of the DLC like they did with Jaws of Hakkon, where people were saying ‘I wish our exploration areas had more big narrative beats like you get on the critical path’. So that’s what we tried to do—that’s the way we work.

Other than that I can’t go into very much detail, but that’s the thinking behind it. We have to react to what people want, otherwise we’re not doing our fans the service they require.

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Game of Thrones: Episode Three — The Sword in the Darkness review


episodic reviews

You can’t buy Telltale’s adventures one episode at a time on PC; you’re 
buying all six in the season for $ 30/£23—so it doesn’t make much sense for us to score each one individually. We’ll review and score the whole package when all the episodes have been released, while individual episode reviews like this one will be recaps and unscored critique.

“Words are wind, Asher,” says Malcolm Branfield to his nephew as he swelters in the Meereenese heat. “It’s choices who define who you are.”

And at last, three episodes in, that seems like it’s finally the case with Telltale’s Game of Thrones. In The Sword in the Darkness, there’s no more need for hours of exposition and heavy-handed verbal nods to the fandom; here, the pieces are all on the table and put into motion. Telltale’s Game of Thrones was a wonder before, but it relied too heavily on the characterizations and visual trappings of the HBO series, thus leaving the narrative to hobble along like Rodrik Forrester. Here, it finds its feet. Significant debts to the HBO show remain, but The Sword in the Darkness is the series’ first real proof that it has the courage to strike out on its own.

Purists, indeed, may argue that it ventures too far from Martin’s original, but it works as a game. Case in point: there’s barely enough time to praise the Seven before three of the series’ most original characters start swiping their swords at a dragon and dodging fireballs in close quarters. Most of the dragon action in the HBO series and the books takes place offscreen—tales of sheep getting chomped on there, burned farmchildren in bundles there—and the focus seems more on the logistics of containing such beasts rather than dodging flames and Anne McCaffrey-style dragonriding. Here, however, we get what could be a cutscene from Dragon Age: Inquisition.

That’s only the beginning. Hints abound in The Sword in the Darkness that Telltale’s about to garnish Game of Thrones’ gritty base with a more deliciously generous helping of fantasy seasoning than we’ve seen in the series so far, such as when another key character gets told that he has to hunt down a mystical MacGuffin hidden somewhere among the grumpkins and snarks north of the Wall. Parallels could be drawn between Bran and company’s snoozy quest for the three-eyed crow, but there’s a treasure hunting aspect about the whole affair coupled with the pangs of divided loyalty that gives this new quest a flavor of its own. If handled correctly (the journey doesn’t start until the next episode), it should be enough to boost one of the game’s most humdrum storylines into its finest.


But the episode’s focus on loyalty manages to overshadow all this hubbub about dragons and things that go bump in the snow. Way up in the north, poor Gared Tuttle finds reason to question his Night’s Watch vows mere moments after he speaks them (through a nifty button prompt sequence that could almost pass for a sing-along in happier animated settings). Way down in King’s Landing, Mira finds herself torn among multiple loyalties—those of her friends and two of the bigger names in Martin’s canon. Even Lord Rodrik Forrester must choose his loyalties, particularly after the arrival of fourthborn occupier Gryff, whose behavioral similarities to Back to the Future’s Biff are as annoying as the the wart on his lower eyelid is distracting.

All this creates necessary tension, but the relevant choices come a little too quickly after we’re introduced to the circumstances. By the end it’s easy to predict when a Big Decision is coming up, to the point where it ventures dangerously close to humor. It’s sort of like, to take a hypothetical example, seeing Sansa Stark swearing a vow to Tyrion that she’ll never eat lemon cakes again, and then watching as—not two minutes later—Cersei offers her a greater degree of freedom as long as she chats over a plate of nice, fresh platter of lemon cakes. Such scenarios come with the one-two force of a Jack Dempsey beatdown. When the episode’s end comes without one of the Big Important Choices we’ve come to expect from the series, it’s hard not to think it’s because the writers already outdid themselves over the previous two hours of gameplay.

The good news is that all this rarely gets in the way of enjoying The Sword in the Darkness. It’s easily the series’ most balanced episode to date, with action sequences requiring carefully timed swipes of keyboard keys or gamepad buttons coming almost as soon as I grew weary of chitchat from the dour-faced cast. People die and friendships arise from seeming enemies, but through it all there’s a glimmer of hope amid the chaos. This being George R.R. Martin’s world, there’s always a chance that some rough-booted brigand will stomp on that hope and force it to suck mud between its teeth. Martin may not have written The Sword in the Darkness, but it’s the first episode that’s felt like a new creation of his. I like it, and I don’t think it’s a stretch to say that I’m now looking forward to the next installment of Telltale’s series than I am to the HBO show. As a book reader, I have a pretty good idea of where HBO’s latest season is headed, but this, at last, feels like something entirely new.

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Rainbow Six Siege gameplay shows new closed alpha plane map

Above is a generously long look at a new Rainbow Six Siege map, which is playable in the current closed alpha. The video above is a leak so it’s not likely to last long, but it provides a neat look at how the forthcoming shooter looks in action, as well as how setting up barricades and waist-high cover will work.

Rainbow Six Siege is expected the release towards the end of the year. Shooter wizard Evan Lahti had a go at E3 2014 and came away impressed. “This E3 demo sold me on Siege’s potential as a competitive multiplayer FPS, something the PC desperately needs more of,” Evan wrote.

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