How can you make your kids happy? I have an idea for you, That is giraffe baby for your kids. Kids love somethings cute and giraffw baby have that thing. If you want to know that thing,you must to know factoflife from baby giraffe.
Fun information and facts about giraffe for kids
Fact #1
The giraffe is the tallest mammal on earth. New-born baby giraffes are even taller than mosthumans. And males can grow up to 5.5 meters (18 feet) tall.
Fact #2
The neck of a giraffes is too short to reach the ground. So it has to awkwardly spread its front legs or kneel to reach the ground for a drink of water.
A giraffe face
Fact #3
Like snowflakes and human fingerprints, no two giraffes have the same spot pattern.
Fact #4
Baby Giraffes can stand within half an hour of being born. After only 10 hours, they can actually run alongside their family.
A baby giraffe
Fact #5
Giraffes only need 5 to 30 minutes of sleep in a 24-hour period.
Fact #6
Giraffes only need to drink once every few days. Most of their water comes from plants they eat.
Fact #7
The idea that giraffes make no sound is untrue. When giraffes snort, bellow, hiss, etc, they make flute-like or low pitch noises beyond the range of human hearing.
Fact #8
Before mating, the female giraffe will first urinate in the male's mouth.
Giraffe couple in love
Fact #9
Giraffes are ruminants. This means that they have more than one stomach. In fact, giraffes have four stomachs, the extra stomachs assisting with digesting food.
Fact #10
Drinking is one of the most dangerous times for a giraffe. While it is getting a drink it cannot keep a look out for predators and is vulnerable to attack.
Fact #11
Male giraffes sometimes fight with their necks over female giraffes. This is called “necking”. The two giraffes stand side by side and one giraffe swings his head and neck, hitting his head against the other giraffe. Sometimes one giraffe is hit to the ground during a combat.
Fact #12
A giraffe's habitat is usually found in African savannas, grasslands or open woodlands.
Fact #13
The hair that makes up a giraffes tail is about 10 times thicker than the average strand of human hair.
Fact #14
Giraffes have a great sense of sight and smell and are able to run at speeds up to 35 miles per hour.
Fact #15
However, a baby giraffe in the wild is vulnerable because it has a shorter gait and is unable to keep up with the herd if a predator is detected. In the days and weeks following a birth, a mother giraffe will sometimes leave her baby hidden in tall grass for a few hours while she eats and roams.
You can find somethings cool in my blog mouse, pokemon, review,....What's special in Paper Mario: Color Splash
Rather than have two concurrent Mario RPG series, Nintendo has kept most of that genre’s trappings confined to the Mario & Luigi series for over a decade. Paper Mariomay have taken the torch from Super Mario RPG with its first two entries, but later titles strayed further and further from the formula. Super Paper Mario was a platformer for all intents and purposes, and Sticker Star took a different approach altogether. The 3DS title eliminated XP and leveling, severely handicapping any sense of progression. In addition, combat was regulated by a finite collection of stickers that Mario would collect in the world. As polarizing as Sticker Star was for fans of the series, Paper Mario: Color Splash doubles down on its most frustrating elements and makes them even worse.
What makes Color Splash such a tremendous disappointment is the fact that so much of it is great. Throughout the game’s lengthy story, it consistently made me laugh with its clever writing and numerous nods to Mario history. Prism Island plays host to a wide variety of locations and activities, and I was always curious what the game would be having me do next. Restoring color to the world is Mario’s goal, and doing so tasks him with appearing on a game show, assembling a train, organizing a tea party at a haunted hotel, and a ton more. It even manages to sneak in some great parodies and references that rarely seem forced.
Just about everything in Color Splash is instantly likable except for the thing that you spend the most time doing. Each time I encountered an enemy, it felt like a punch to the gut. I’d often be walking around, admiring the game’s gorgeous visuals and wondering what it would be having me do next. Then, I’d encounter an area filled with enemies and I’d be reminded of how thoroughly Nintendo dropped the ball with this game.
Numerous things are terrible about the combat system, and any one of them is bad enough to bring down the quality of the game as a whole. Together, they have the ability to make the experience miserable at times.
Like Sticker Star, combat is regulated by single-use cards that Mario can buy or find in the environment. Since there isn’t any kind of infinite base level attack that can be pulled out at any point, I was frequently required to waste powerful cards on enemies that were already near death. This system can back you into a corner. If you’ve run out of hammers and all you have are a bunch of jump cards, good luck trying to take out that Shy Guy with a spiked helmet on his head.
Oftentimes, powerful cards will just be taken from you without warning. At random points, Kamek will fly by at the beginning of standard battles and turn all of your cards over. You’re forced to blindly choose cards to play, meaning that you could easily waste one of your most powerful attacks on a weak enemy. Some fights even feature enemies that hop onto the playing field and eat your cards before you have a chance to use them.This is especially infuriating if it’s a Thing card. These are special cards that transform the battlefield into a photorealistic environment, and often do massive damage to your enemies. More often than not, these rare items are required to finish off a boss or advance the story. If you lose it in one of several random ways, you’re forced to exit the area you’re in and head back to the main hub world to buy another.
As boneheaded as the entirety of the combat system is, it’s made even worse thanks to the method in which you attack. It’s insane that GamePad functionality has been so clumsily incorporated this late in the Wii U’s lifecycle. Each time you want to attack, you have to scroll through a giant deck of cards on the GamePad screen with the stylus. You then slide the cards that you want to use up to the top of the screen. Once your cards are in place, you confirm that they are the cards that you wish to attack with. The GamePad takes you to another screen that has you tap and hold on each individual card to determine how much paint you want to put into them (paint increases attack damage). When your paint levels are where you want them to be, you hit confirm again. At the next screen, you flick the cards up with the stylus to actually attack. This song and dance happens every single time that it’s your turn during combat. There is an option in the settings menu that allows you to eliminate one of the “confirm” screens, but the process remains painfully slow.
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This is all the more maddening when you realize how fruitless combat is to begin with. Sticker Star’s dumbed-down progression system is even more severely neutered in Color Splash. Mario can expand his paint reserves by collecting hammers after fights, and his HP goes up by 25 at six predetermined points in the story. Outside of a few upgrades that increase the number of cards that Mario can play in one turn, there is nothing else that you can do to feel more powerful.
Let’s break this down. You fight by playing single-use cards. If you win, you’re rewarded with coins. You use coins to...buy more cards. With that system in place, why would anyone ever want to encounter an enemy in the field? I never once felt like any of the standard fights were doing anything to progress the story or my character’s abilities. It’s maddening. I got to a point in which I started trying to flee from every fight. This works on occasion, but it’s terrible when Mario falls flat on his face while attempting to flee and you’re forced to go through another awful round of card-based combat.
There are other unfortunate elements in play that aren’t tied to the combat. Several stages require you to play through their entirety two or more times. At five different points in the story, progress is halted unless you’ve found an entire “rescue squad” of Toads that are spread throughout the world. It’s discouraging to think that you’re about to enter a new area, only to be told that you can’t continue without finding five or six Toads that are hiding in unspecified locations in previous levels.
I changed my tune on one of my favorite areas by the end of it. The haunted hotel isn’t combat-heavy, and focuses more on puzzle solving. I enjoyed trying to hunt down a collection of Toad ghosts so that they could organize a tea party. This area has several clever puzzles, and the reduced focus on combat was really helping me spend time with the things I liked about the game. When I was down to the last Toad that I had to collect, a grandfather clock rang and I was met with a game over screen. It had failed to adequately explain to me that there was a time limit for this area, and I was forced to start over from the beginning.
Even the sidequests feel useless. The biggest one involves temples in which you compete in rock-paper-scissors. Your prize for winning? Coins that you use to buy cards, and cards that you use to win fights that give you coins.
Every level has blank spots for Mario to fill in with paint. I initially enjoyed this side activity and shot for 100-percent “colorization” on every stage. This pursuit stopped once I realized that a character called the Shy Bandit pops up randomly to suck the color out of levels with a straw. If you don’t catch him in time on the world map, your 100-percent colorization can go down to next to nothing. Even if you do get full colorization in an area, your reward is just unlockable music tracks.Check out my list of fun, weird and just plain amazing fact of life I have found.
That’s never hard to do, because everything is a goddamn Toad in this game. Previous Paper Mario games have featured a wide variety of NPCs, complete with tons of different looks and personalities. In Color Splash, it’s just a bunch of Toads of different colors. Sometimes they’ll have scarves. A couple of them had pirate hats. In the end, they’re all just Toads. Oh, you need to climb a mountain to talk to a wise old sage? Just a Toad. He doesn’t even have a beard. Ghosts are all over this hotel? They’re just Toads with an aura effect around them. I think one of them had glasses.Often, the method to advance the story will be completely unclear. Your talking paint can named Huey is supposed to help point you in the right direction if you press up on the d-pad, but he frequently has no advice beyond “Hey, maybe you should talk to some Toads around town!”
I can’t remember the last time I’ve been so thoroughly divided on a game. One part of me loves it. It’s genuinely funny, and the writing and locations are fantastic. Prism Island is gorgeous, and the soundtrack meets the high bar of quality that Mario games are known for. In the end, though, I spent most of this game trying to avoid playing the biggest part of it. Every combat encounter reminds you of how broken a critical element of the game is, and they happen frequently. It’s staggering how much this one system routinely destroyed my enthusiasm for the game. Would you like to get free online games for kids ?
With more traditional RPG mechanics and a real progression system, Paper Mario: Color Splash could have been one of the best games in the series. Because of some unfathomably ill-conceived decisions during the development process, it’s one of the very worst.
The American Dream reviews and rumor
The American Dream is a videogame about living life with guns. In other words, one must eat donuts with guns, perform quality assurance with guns, go bowling with guns, and take dates to the prom with guns. Developed exclusively for VR, it’s the work of Screencheat studio Samurai Punk, a young outfit based in Melbourne, Australia.
Melbourne is far away from America – the country whose gun laws are ostensibly being satirised. As it turns out, The American Dream wasn’t really borne of the studio’s desire to make a statement about US gun laws. Instead, the concept has its origins in something more meta, namely the rarely-dwelled-upon fact that in first person shooter games, it’s usually only possible to shoot things. Sometimes, the only way to open doors or flick switches is to shoot them. Guns are the most useful tool in a videogame character's arsenal.
“It started out as an introspection I was having with a lot of FPS games that I’d played,” Samurai Punk artist Nicholas McDonnell said. “I’ve played a lot, I’ve made an FPS game, and I was getting a bit confused as to why I was doing so much of that.
“Historically, most FPS games come out of the US. When [graphical leaps] allowed us to, that’s the first thing we did: we started making shooting games. It became a North America-themed game when I figured out it’d be a good lens through which to demonstrate that. Obviously, when you start talking about guns, the conversation about America comes up a lot.”
The American Dream takes the form of an on-rails shooter travelling through a theme park roughly modelled on Disney’s Epcot Center, an attraction dedicated to technology and a "brighter tomorrow". In The American Dream, the attraction is a means for gun manufacturers to demonstrate their wares. These shills want you to see that guns can be used for more than just killing living creatures. Indeed, guns can be used for everything, according to the gun shills, and the game is basically a collection of vignettes forcing the player to learn how this might be achieved.
In the short demo I played, I was ensconced in a cot and forced to answer a questionnaire with my gun. Then I needed to attract the attention of my mother with my gun. Later, I had to work as a quality control worker, which involved me making holes in donuts, and removing gross looking donuts off conveyer belts... with my gun. These are very simple demonstrations of the concept: I dual wielded pistols during my playthrough, but the game will also feature machine guns and shotguns.
“We were experimenting with different guns that allow us to do different [types of] gameplay, because in this game, a gun isn’t a tactical advantage in a certain situation, they function more like different tools for life,” McDonnell said. “We have to try to abstract what a long rifle provides gameplay-wise, as opposed to a pistol, which is small and light and easy to handle.
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One of the neatest aspects of The American Dream is its reload system: basically, you need to bang the butt of your gun on a button in order to trigger a magazine dispenser, which itself triggers a short slow motion sequence, during which you need to capture it in your weapon. It ties into one of the important tenets of the game: the studio couldn’t have the player use their hands to reload a weapon, because you’re not meant to use your hands. Guns are meant to do everything, but crucially, in The American Dream, guns are never used for violent means.
“We have to do the ‘don’t make guns violent’ pass [on every vignette], because the game is all about making guns non-violent,” McDonnell said. “You can’t say ‘don’t make the boss angry, he has a gun and he’ll shoot you’ because that doesn’t work. The universe we’re creating is one where guns are perfect, they’re like a multi-tool, they can solve all your problems and they don’t shoot people.”
It’s an amusing concept, and during the 20 minutes I spent playing The American Dream, I found it much funnier than I expected. I did initially question the ability of three young Australian developers to handle this idea effectively. I feared it'd be overly dogmatic, or celebratory, or else totally tone deaf – but taken as a lighthearted critique of first-person shooters, it works.
Will it work as a game, though? Despite the fledgling status of VR, audiences are already growing tired of bite-sized games like The American Dream. And yet, that reality means games are provided the luxury of playing with simple concepts that might not gel in a larger, more time-intensive game.
As for McDonnell, he reckons that’s just where the tech is at. “As a person playing VR a fair amount at the moment, I think [this type of game prevails] because the tech isn’t 100 percent there in terms of comfort and long term use. They all have their own quirks: if you wear glasses you can only really use PSVR because the others don’t have enough space. The Oculus is a bit bright, and hurts your eyes after a certain amount of time. It’s not the kind of platform that you feel comfortable with for a long time.
“Because of the nature of the platform, I think bite-sized content works best right now and I don’t think that’s a negative,” McDonnell said. “To some extent it’s actually great because it means you can create stuff and succeed with it in a manner which you’d get abused for on another platform. That’s where we ended up with walking sims. They were getting abused because they were short form – and they wanted to be – and in our case it’s the same. We’re trying to do something with our game which wouldn’t be effective on another platform." Would you like to get free online games for kids?
The American Dream is due to launch in 2017.
Dishonored's exotic new setting - Dishonored 2
The first location you visit in Karnaca is the Campo Seta Dockyards. This is a neutral zone, meaning you can move around without having to worry about being hassled by the Duke’s guards. Your mission is to find a rail car heading the Addermire Institute, but it’s worth taking some time to explore the streets first. The docks are bustling with people, and talking to them is a great way to learn about this strange new country.
As I was doing this, I noticed how incredible the characters look. And not just the main cast, but random people on the street too. The stylised art in the first game was wonderfully distinctive, but the sequel has taken it to the next level. The faces still look hand-sculpted, almost like caricatures, but they’re now rendered with an extra layer of beautifully grotesque detail. The rough, weathered faces of Karnaca’s citizens, from dockers to aristocrats, reflect the ugly world they live in and the ugliness of their lives. Get game, app reviews and free online games for kids, for girls and others.
“Karnaca is the home of a variety of ethnic groups with distinctive faces,” notes Arkane Studios art director Sebastien Mitton in a character art gallery on Bethesda’s website. “Clothes are well-cut and tailored, while faces are rough and have stories to tell. Clothing is a medium to show a character’s position in society, but what’s fundamental is the person wearing it. That attention to detail raised the quality to an unexpected level, where all the city’s inhabitants have a backstory and truly fit within their environment.”
“When we create character art for Dishonored 2, it’s important to keep the little details in mind,” he says. “Where is this character from? What line of work are they in? What sort of a person are they? From the shape of Emily’s cuff-links to the musculature and weathered faces of our characters, we take everything into consideration. All these things ultimately affect the way we design each and every one of our characters. And with a location like Karnaca, where people from all over the world have settled, we’ve assembled a diverse cast of strange and fascinating individuals.”
To create these portraits I used Ansel, Nvidia’s new screenshot tool. If you have a supported GPU you can access it by pressing ALT+F2 in-game. Sometimes you get a black screen, but restarting the game seems to fix it. And it’s only when I started zooming in with this that I realised just how obscenely detailed the faces in the game are. The realistic skin shaders lend the exaggerated features a tangible texture, but it doesn’t send them tumbling into the uncanny valley. These characters will still look great in ten years, because Arkane understands that strong art always trumps photorealism.
Before the artists render a model in 3D, they use concept art as the basis for a clay sculpture. This unusual system is what gives the faces that unique hand-crafted look. “Clay sculpting allows the artists to set the look and anatomy of a subject after the 2D concept and before the 3D modelling,” says Mitton. “This saves time for the 3D modellers and helps unify the look of the characters.” The time-saving point is interesting, explaining how Arkane are able to give even the most generic NPC an interesting face.
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Interestingly, one of the only characters in Dishonored whose face isn’t scarred or gnarled in some way is The Outsider, the supernatural being who grants Corvo and Emily their powers. I interviewed creative director Harvey Smith recently about the making of Lady Boyle’s Last Party, which you can read in this issue, and he suggested this was intentional. Perhaps to highlight his other-worldliness. It’s attention to detail like this that makes Dishonored’s world, and the people who live in it, so compelling.
Dishonored 2 is a remarkable artistic achievement. Karnaca is entirely fictional, but feels like a real place with its own rich culture and history. From the architecture to individual props like typewriters and lamps, everything has been carefully, lovingly designed to feel like it has a place and a use in the world. And this obsession with the small details extends to the people who live there, whose storied, weather-beaten faces are as important a part of Arkane’s exquisite world-building as anything else.
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