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Once you've culled and organised a shoot, it's time to tweak. Quick edits can be made using the Adjust workspace, which contains common image enhancements displayed in a more user-friendly interface than the full-blown Edit workspace. On the left of the familiar image preview are quick-fix adjustment sliders to tweak things like brightness, contrast, vibrancy and white balance, as well as remove image noise and even apply tone mapping to create a single-image HDR effect. You'll also find crop and image straightening tools in this pallet, with the latter making it extremely easy to level a wonky horizon.
But in fairness to PaintShop Pro, filter effects aren't what the software is most renowned for. Both the Manage and Adjust workspaces are really warm-up acts for the main event: the Edit workspace. This is a full-on, Photoshop-rivalling editing app with a similar interface design. But while Photoshop can be daunting for novice users, Corel has attempted to make the Edit workspace more accessible, with a Learning Centre pallet on the far right of the window that can be navigated to discover different tools, which in turn are highlighted in their respective toolbar and are accompanied by a guide on how they work.
Hero attacks are fully automatic, players only need to control movement. As the game progresses, the monsters are getting more and more fleshy and the number is increasing, coming from all directions, and you have to save up your weapons and equipment before you can fight the final boss.
The Suffering is an action game in which the player controls Torque, the player character, from either a first-person or third-person perspective, depending on their preference.[7] The game is fully playable in both first and third-person views, with all actions available in both modes.[5] Torque can run, shoot, jump, interact with the environment, interact with NPCs, and use items, such as flashlights, flares, flash grenades, TNT, shrapnel grenades, and molotov cocktails. Weaponry includes a shiv, an axe, a .357 revolver, a tommy gun, dual revolvers, a shotgun, an improvised flamethrower, and M2 Brownings. Other items which can be found during the game are Xombium tablets (which restores the player's health), paperwork with story content, maps, ammo, and flashlight batteries.[8]
As Torque kills enemies during the game, an on-screen meter called his "Insanity meter" begins to fill. Once it is full, it begins to flash, and at this point, Torque can transform into a monster. In this form, Torque can tear enemies apart and can perform several powerful attacks. The more enemies Torque kills whilst in this form, the more powerful the monster becomes and the more combo moves become available. However, when in this form, Torque's health automatically depletes, and if he doesn't change back to his human form prior to his health meter fully depleting, he will die.[16][17]
Torque heads back to Abbot by way of the beach, where he encounters Clem (Ross Douglas), an elderly inmate who was in the middle of an escape when the earthquake struck. Clem has a small one-person boat ready to sail, but needs Torque's help fighting creatures emerging from a wrecked slave ship before he can leave.[30] Torque sets fire to the wreck, enabling Clem to escape. He enters Abbot's sewer system where he encounters Horace, who tells him Abbot wants his soul.[31] He then heads to the electric chair, destroying it and releasing Horace's spirit. Returning to death row, he finds Killjoy's diagnosis,[32] and then returns to the radio room. Successfully sending a signal, he learns a Coast Guard vessel is on the way. However, Carnate's lighthouse is not working,[33] and must be reactivated before the vessel can approach the island. Torque heads to the lighthouse, passing through the old military barracks, Fort Maleson.[34] In the fort, he encounters Hermes, who forces him to fight. Torque defeats him by using pressurized gas to push Hermes into a furnace. He continues to the lighthouse, outside of which he meets Ernesto, who is trying to find his family. They restore power, and reactivate the lighthouse, arranging to meet the ship at the dock.
The origins of The Suffering date back to early 2002 when the game was originally called "Unspeakable".[37] Surreal Software game designer Richard Rouse III wrote a two-page pitch, which described the game as "a stylized horror shooter; with the frenetic gameplay of Devil May Cry meets the horror setting of Resident Evil and the immersive game-world of Half-Life."[5] The basic design for the game originated from Rouse's negative experiences working on a western role-playing game called Gunslinger, which was eventually cancelled. Rouse felt Gunslinger had been too ambitious for its own good, especially a "morality system" which saw entire towns full of people react differently to the player character depending on what actions the player had taken earlier in the game. Finding this system impossible to implement effectively, Rouse envisioned The Suffering as having a "drastically stripped down morality system" with a much simpler AI system for tracking it.[5]
The Shining was the movie that stood out for everyone as something that was deeply horrific, yet not cheesy or ridiculous. A serious piece that is also intensely frightening. So we really wanted to create that same feeling of you're walking through an environment, and then you're seeing visions of things that you don't necessarily understand straight away, but over the course of the whole game will come to create a full picture of one man's tortured soul.[38]
One of the most fortunate events of The Suffering's development was getting time to iterate on the game. Midway was quite happy with the game's progress and had seen a strong reaction to it from the press and public alike. Thus they gave us a generous time extension, not because we were behind schedule but because they wanted to make the game as strong as possible. Thus, with our levels all fully built and functional many months before shipping, we were able to do a number of passes on the game. We did a pass on horror elements to make the game more frightening, including adding our real-time environmental flashes that are so key to the final experience. We also did a story pass, not to change the story but to expand on how it was presented to the player. We performed an AI pass to make the creatures much more dynamic and varied in their behaviors. Finally we did a puzzle pass to fix the most egregious problems with the puzzles. The impact of these passes cannot be underestimated.[5]
In April, Midway announced their projected revenue for the first quarter of 2004 was $18 million, primarily due to the success of The Suffering. On April 6, Midway purchased Surreal Software. Midway CEO David Zucker stated "The positive market reception to The Suffering illustrates our ability to successfully develop and release entirely new properties that resonate strongly with the growing audience of sophisticated, mature gamers. The acquisition of Surreal Software Inc., the visionary developer behind The Suffering, strengthens our internal product development team and reinforces our ability to create high quality games."[71][72] Surreal's co-founder, and The Suffering's director Alan Patmore stated "We developed a great working relationship with Midway during the development of The Suffering and feel that partnering with them will allow us to increase the quality of our titles by providing us with additional resources--and by allowing us to leverage their resources and expertise. It's that simple. We just want to make great games and feel that the acquisition will help us accomplish this goal."[73]
"On Sept. 13, 1978, Rodney Alcala sits in shadow behind a curve of wall on The Dating Game set. He listens as a few feet away host Jim Lang saunters onto the stage to thunderous applause. 'Bachelor No. 1 is a successful photographer who got his start when his father found him in the darkroom at the age of 13 fully developed.'" 2ff7e9595c
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