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➤ To open .iso file, use PowerISO and run the setup as admin then install the game on your PC.
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➤ Note: If you like this video game, please buy it and support the developers of this game.
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Minimum: • OS: Windows 7/8.1/10 – 64-Bit • CPU: Intel Core i3-2100 @ 3.1GHz or AMD Phenom II X4 965 @ 3.4 GHz • RAM: 8GB • Hard Drive Space Required: 30.0 GB • Minimum Supported Video Cards: NVIDIA GTX 460 or AMD Radeon R7 260 • DirectX: 11.0
Recommended: • OS: Windows 7/8.1/10 – 64-Bit • CPU: Intel i5-3550K @ 3.40GHz or AMD FX 8150 @ 3.6GHz • RAM: 8GB • Hard Drive Space Required: 30.0 GB • Minimum Supported Video Cards: NVIDIA GTX 660 or AMD Radeon R9 270 • DirectX: 11.0
Supported Language: English, Italian, Spanish, Polish, Russian, Portuguese-Brazil, Simplified Chinese language are available. If you have any questions or encountered broken links, please do not hesitate to comment below. :D
In the previous post I described how I learned about the cube/sphere geometry so that I could put a square grid on a sphere. I ended up spending too much time on that, because it turns out the mapping from cube to sphere wasn't as useful as I had thought. This happens to me sometimes, where I find something fascinating, spend a lot of time on it, and it turns out to be not that important.
As the final step in learning how to work with square tiles on a sphere, I wanted to make something on the sphere. I decided to make a dungeon map.
Dungeon map on a sphere
Despite my interest in procedural generation, I've never made a dungeon map before. I wasn't sure how hard it would be to work with the cube/sphere geometry so I decided to keep the dungeon part of it simple. I started out making a dungeon on a single square face of the cube, and was hoping I could easily extend it to work on the entire cube. It worked out but not without some missteps. I think geometric dungeon-making techniques like binary space partitioning may be more difficult in the cube/sphere map than graph-based techniques like Delaunay triangulation or graph grammars, but it's hard to know until someone tries them.
extending a square grid to a sphere is not too hard, as long as the player is mostly looking at the grid and not the sphere
the 8 corners of the cube are problematic, and it's easiest if you can have the player avoid them
some algorithms will extend to the cube/sphere much more easily than others
sometimes instead of modifying an algorithm to work on the cube/sphere, it's easier to have an algorithm pretend it's on a flat surface and then "fold" the coordinates onto the next side of the cube
I think that's it for this little exploration. It was fun and I learned a lot but I'm ready to move on to another project.
Last night I began playing Fire Emblem Awakening again. It had been lost for two years after moving to Hawaii, but I recently found the small cache of games I'd brought with me to play on the trip stowed away in a small DS pouch sitting under my nose all this time. It was nearly a year ago I started playing Fire Emblem Fates that I wanted to go through Awakening again and do all the things I had neglected to do originally -- but I couldn't find it until now. Among the things I never did was play through on Classic-style (permanent deaths of units) and Lunatic difficulty. That's not even it's final form! There's a Lunatic + that unlocks if you clear it.
So I booted it up and found I had a Lunatic file on Chapter 15. I honestly don't even remember how many Chapters the game has because it's been so long since seen it, let alone played it. So I decided to start a new file. I spent a minimum of four hours trying to get through Chapter 1-4 last night. It was probably more than that including time spent reading some strategies and tips on how to play the random number generator just right. Then I discovered I don't have access to my old DLC content on this newer 3DS because I neglected to import the data from my old SD card and for some reason my Nintendo Network ID won't simply let me re-download it. That's bogus. This is bad news.
So like a fool, I decided that my current run wasn't good enough. That without the support of the DLC maps, I wouldn't be able to push much farther unless I made a few god-like characters over the first 5 chapters -- Fredrick and Robin, I'm looking at you. So I restarted with an updated player character [Robin] and went through that slog again this morning trying out some new strategies -- and generally it went a lot faster.
There is still this issue of getting to the last 2-3 enemies and watching as their 33% chance to hit and 6% chance of gaining a critical hit off of that 33% turn their expected 14 damage (to my 33 HP on Frederick) into 60 damage. Negating about 35 minutes of careful planning, because now I have to restart the entire map again. These situations are excruciatingly frustrating. I'm sitting here now because I'm asking myself -- am I having fun? I honestly can't tell.
The number of times you'll miss with 85% chance to hit and the enemy will land a hail Mary 4x damage critical combo on you with only a 5% chance are really the tip of the iceberg on how frustrating this experience has been thus far. I'm certainly irritated by the 10th reset due to crappy dice rolls that screw over a unit's survival or give my superstar characters a piss-poor level up gain. Then again when it all comes together, and Lady Luck smiles down on some clutch misses in my favor, it feels pretty damn good to push through the map and take down the boss. Is that moment of victory enough to keep me going? An hour or two of turmoil for an instant of triumph? I wish I knew.
What I do know is that I really want to play Fire Emblem Awakening one more time, and backing down from Lunatic at this time feels like giving up. Can I be the hero Ylisse needs right now if I back down from this challenge and take the easy road? I don't think my pride will allow it, but I'm not having much fun slogging my way through trial and error on these maps -- resetting every 15-25 minutes. How long will it even go on like this? Will I just give up and walk away from this great game, or can I suffer through this hardship and lead my troops to a new level of victory? I don't have any of the answers, friends.
We told you recently that we were suspending Freegle until it was safe for people to be collecting items from others. That's still true - any of us might be infected without knowing it, so please don't risk your health or anyone else's.
But if you're stuck at home, it's a great time to do some tidying up. That and box set binging, obviously. So we've changed the site (and soon the app) so that you can post OFFERs now, and we'll hold on to them for until things get a bit more back to normal. That way you're all ready to go later on.
As usual, to OFFER something, go to:
https://www.ilovefreegle.org/give
Don't mope and mutter - just de-clutter!
Stay safe,
Your Freegle volunteers
You've got this mail because you're a member of Freegle. Unsubscribe
Freegle is registered as a charity with HMRC (ref. XT32865) and is run by volunteers. Which is nice.
Very sadly, after the Government's announcement on 23rd March, Freegle will have to suspend OFFER/WANTED posts until the situation changes. We'll email you when we're back.
If possible, please hold on to your stuff and post it when we reopen. There will be a lot of people who are struggling and will need things when that happens.
Communities have come together in this crisis, so let's continue that momentum when things look brighter and build on it by freegling in the future. Our earth has had a window for recovery, we can keep that open and conserve our precious resources and protect the environment.
Our ChitChat section (https://www.ilovefreegle.org/chitchat) is staying open. Join us here to swap hints, tips and tell others how you're filling your day. Share your knowledge and questions on upcycling, reuse, crafts, gardening, cooking, hobbies etc.
Freegle also needs your help. We are funded mostly from donations given by freeglers - no freegling means we won't be getting donations. Lots of charities and businesses will be struggling, but if you want us to be here for you in six months' time we would really appreciate you setting up a regular donation at: https://freegle.in/paypal1
See you on the other side!
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Freegle is registered as a charity with HMRC (ref. XT32865) and is run by volunteers. Which is nice.
On the last day of the cold January Will from Extra Credits sat down to stream SOMA, and for the first few hours of the game he was joined by his friend and Frictional employee Ian Thomas. Ian worked on scripting, coding, and level design for SOMA, and is now the Story Lead on one of Frictional's two upcoming projects. During the stream he answered some questions from the viewers, ranging from what type of pizza he thinks Simon had in his fridge, to ways of minimising dissonance between the player and the character in a narrative game.
In this blog we've compiled the best questions and answers into an easily readable form. So go get a beverage of your choice and dive into the everyday life at Frictional, narrative game design and tips on networking in the industry! Or, if you're not the reading type, you can also watch the whole video on Twitch.
Have some other questions? Hit us up on Twitter and we will try to answer the best we can!
(Picture commentary from your favourite community manager/editor of this blog, Kira.)
Q: Does the Frictional team scare each other at the office?
We didn't have an office until recently, and even now most people are still remote, so not really!
The thing about being behind the scenes in horror is that it's very difficult to scare yourself, and each other, because you know what's going on. We do play each others' levels every other week, and it's always brilliant to get a decent scare out of a coworker.
Otherwise we don't hide in the office cupboards or anything like that… regularly.
Q: Is it true that developers don't actually play their games?
No - we play our games thousands of times, and most developers do!
It does depend on where you sit in the development chain. If you work for a very big company and only do something like facial models, you might rarely play the game until it's close to completion. But in a team the size of Frictional everyone plays the game all the time. That's how we get our primary feedback and develop our levels before the game goes anywhere near alpha testers.
Q: How about after they're released?
Probably not that often. For me personally there are two reasons, which both have to do with time. Firstly, I'm probably already working on a new thing. Secondly, during the short downtime after a release I'm trying to catch up on games I had to put aside during development. But it depends: for example, when I worked on LEGO games I would later play them with friends, because they're so much fun to sit down and co-op play.
For a couple of years after the release you might be fed up with your game and not want to see it, but then you might come back to it fresh. With SOMA I sometimes tune into livestreams, especially if I'm feeling down. That's one of the kicks you get out of this stuff – knowing which parts of the game people are going to react to, and getting to watch those reactions! That's the best payoff.
Q: Did the existential dread of SOMA ever get to the team?
It's a little different for the dev team, as the horror is a slow burn of months and months, whereas for the players it comes in a short burst. The philosophical questions affected people in different ways, but I don't think we broke anyone. As far as I know we're all fine, but given that a lot of us work remotely, it could well be that one of us is deep in Northern Sweden inscribing magical circles in his front room and we just don't know...
Q: Why did SOMA get a Safe Mode?
SOMA was originally released with monsters that could kill you, and that put off some people that were attracted to the themes, the sci-fi and the philosophy, because they saw the game as too scary or too difficult. Thomas and Jens had discussed a possible safe mode early on, but weren't sure it would work. However, after the game came out, someone in the community released the Wuss Mod that removed the monsters, and that and the general interest in the themes of the game made us rethink. So now we've released the official Safe Mode, where the monsters still attack you, but only if you provoke them – and even then they won't kill you.
You can now avoid one of these three death screens!
The concept of death in games is a strange one. All it really means is that you go back to a checkpoint, or reload, and all the tension that's built up goes away. The fact is that game death is pretty dull. It becomes much more interesting when it's a part of a mechanic or of the story. We at Frictional have talked about it internally for a while, but it's something we've never really gotten a satisfactory answer to.
So, all in all, even if you turn on Safe Mode, it's not that much different from playing the game normally.
Q: What type of pizza does Simon have in his fridge?
Meat lovers', definitely.
Schrödinger's pizza! And a Mexicana. Unless they mixed it up at the factory. In which case it's also a Schrödinger's pizza.
Q: What was the funniest or hardest bug to fix in SOMA?
There were so many! You can find some of the stuff in the supersecret.rar file that comes with the installation.
I spent a lot of time fixing David Munshi. His animation really didn't behave and he kept leaping around the place. He was so problematic, especially in this sequence where he was supposed to sit down in a chair and type away at the keyboard. We had so much trouble with that - what if the player had moved the chair? We couldn't lock it in place, because we want the player to be able to mess with these things. We went around trying to come up with an answer for ages.
And then someone on the team went: "Standing desk!". Problem solved! It's silly little things like this which tie up your time.
For all you thirsty Munshi lovers out there. You know who you are.
Another similar element was the Omnitool. It was a fairly major design thing that we came up with to connect the game characters, and to gate scenarios. We were struggling trying to tie these things together, and then it was just one of those days when someone came up with one single idea that solved so many problems. It was a massive design triumph – even if we realised later that the name was a bit Mass Effect!
Q: Why does using items and elements in Frictional's games mimic real movements?
This is one of Thomas's core design principles: making actions like opening doors and turning cranks feel like physical actions. It binds you more closely into the game and the character, on an unconscious level. We've spent an awful lot of time thinking about ways to collapse the player and the character into one and make the player feel like a part of the world. It's a subtle way of feedback that you don't really think about, but it makes you feel like you're "there".
There's an interesting difference between horror games and horror films in this sense. You would think that horror movies are scarier because you're dragged into the action that moves on rails and there's nothing you can do about it. But for me that kind of horror is actually less scary than the kind in games, where you have to be the person to push the stick forward.
We try to implement this feedback loop in other elements of the game too, like the sound design. When a character is scared it makes their heartbeat go up, which makes the player scared, which makes their heartbeat go up in turn, and so on.
Q: Why didn't SOMA reuse enemies?
It obviously would have been much cheaper to reuse the monsters. But in SOMA it was a clear design point, since each of the enemies in SOMA was trying to advance the plot, get across a particular point in the story, or raise a philosophical question. Thus, the enemies were appropriate to a particular space or a piece of plot and it didn't make sense to reuse them.
Q: Did SOMA start with a finished story, or did it change during development?
The story changed massively over the years. I came on to the game a couple of years into development, and at that time there were lots of fixed points and a general path, but still a lot changed around that. As the game developed, things got cut, they got reorganized, locations changed purpose, and some things just didn't work out.
Building a narrative game is an ever-changing process. With something like a platformer you can build one level, test the mechanics, then build a hundred more similar levels iterating on and expanding those core mechanics. Whereas in a game like this you might build one level in isolation, but that means you don't know what the character is feeling based on what they've previously experienced.
You don't really know if the story is going to work until you put several chapters together. That's why it's also very difficult to test until most of it is in place. Then it might suddenly not work, so you have to change, drop and add things. There's quite a lot of reworking in narrative games, just to make sure you get the feel right and that the story makes sense. You've probably heard the term "kill your darlings" – and that's exactly what we had to do.
A lot of the things were taken out before they were anywhere near complete – they were works in progress that were never polished. Thus these elements are not really "cut content", just rough concepts.
Q: The term "cut content" comes from film, and building a game is closer to architecture or sculpting. Would there be a better name for it?
A pile of leftover bricks in the corner!
Q: How do you construct narrative horror?
Thomas is constantly writing about how the player isn't playing the actual game, but a mental model they have constructed in their head. A lot of our work goes into trying to create that model in their head and not to break it.
A central idea in our storytelling is that there's more going on than the player is seeing. As a writer you need to leave gaps and leave out pieces, and let the player make their own mind up about what connects it all together.
You'll meet a tall, dark stranger...
From a horror point of view there's danger in over-specifying. Firstly having too many details makes the story too difficult to maintain. And secondly it makes the game lose a lot of its mystery. The more you show things like your monsters, the less scary they become. A classic example of this is the difference between Alien and Aliens. In Alien you just see flashes of the creatures and it freaks you out. In Aliens you see more of them, and it becomes less about fear and more about shooting. It's best to sketch things out and leave it up to the player's imagination to fill in the blanks – because the player's imagination is the best graphics card we have!
There are a lot of references that the superfans have been able to put together. But there are one or two questions that even we as a team don't necessarily know the answers to.
Q: How do you keep track of all the story elements?
During the production of SOMA there was an awful lot of timeline stuff going on. Here we have to thank our Mikael Hedberg, Mike, who was the main writer. He was the one to make sure that all of the pieces of content were held together and consistent across the game. A lot of the things got rewritten because major historical timelines changed too, but Mike kept it together.
During the development we had this weird narrative element we call the double apocalypse. At one point in writing most of the Earth was dead already because of a nuclear war, and then an asteroid hit and destroyed what was left. We went back and forth on that and it became clear that a double apocalypse would be way over the top and coincidental. So we edited the script to what it is now, but this has resulted in the internal term 'that sounds like a double apocalypse', which is when our scripts have become just a bit too unbelievable or coincidental.
Q: How do you convey backstories, lore, and world-building?
Q: How do you hook someone who disagrees with the character?
It's hard to get the character to say and feel the same things as what the player is feeling. If you do it wrong it breaks the connection between the player and the character, and makes it far less intense. Ideally, if the player is thinking something, you want the character to be able to echo it. We spend a lot of time taking lines out so the character doesn't say something out of place or contrary to what the player feels.
With philosophical questions there are fixed messages you can make and things you can say about the world, but that will put off a part of the audience. The big thing when setting moral questions or decisions is that you should ask the question instead of giving the answer. If you offer the players a grey area to explore, they might even change their minds about the issue at hand.
To murder or not to murder, that is the question.
Q: How do you write for people who are not scared of a particular monster or setting?
In my experience the trick is to pack as many different types of fear in the game as you can, and picking the phobias that will affect the most people. If there's only one type of horror, it's not going to catch a wide enough audience. Also, if you only put in, say, snakes, anyone who isn't afraid of snakes is going to find it dull.
We probably peaked in our first game. What's worse than spiders? (Not representative of the company's opinion.)
Q: What's the main thing you want to get across in games?
The key thing is that the players have something they will remember when they walk away from the game, or when they talk about it with other people. It's different for different games, and as a developer you decide on the effect and how you want to deliver it. In games like Left 4 Dead delivery might be more about the mechanical design. In other games it's a particular story moment or question.
In SOMA the goal was not to just scare the players as they're looking at the screen, it was about the horror that they would think about after they put the mouse or controller down and were laid in bed thinking about what they'd seen. It was about hitting deeper themes. Sure, we wrapped it in horror, but the real horror was, in a way, outside the game.
Q: What does SOMA stand for?
It has many interpretations, but I think the one Thomas and Mike were going for was the Greek word for body. The game is all about the physicality of the body and its interaction with what could be called the spirit, mind, or soul – the embodiment of you.
The funniest coincidence was when we went to GDC to show the game off to journalists before the official announcement. We hadn't realised there is a district in San Francisco called Soma, so we were sitting in a bar called Soma, in the Soma district, about to announce Soma!
As to why it's spelled in all caps – it happened to look better when David designed the logo!
Q: Does this broken glass look like a monster face on purpose?
I'm pretty sure it's not on purpose – it's just because humans are programmed to see faces all over the place, like socket plugs. It's called pareidolia. But it's something you can exploit - you can trick people into thinking they've seen a monster!
This window is out to get you!
Q: What is the best way to network with the industry people?
Go to industry events, and the bar hangouts afterwards!
It's critical, though, not to treat it as "networking". Let's just call it talking to people, in a room full of people who like the same stuff as you. It's not about throwing your business cards at each other, it's about talking to them and finding common interests. Then maybe a year or two down the line, if you got on, they might remember you and your special skills or interests and contact you. Me being on Will's stream started with us just chatting. And conversations I had in bars five years ago have turned into projects this year.
You have to be good at what you do, but like in most industries, it's really about the people you know. I'm a bit of an introvert myself, so I know it's scary. But once you realise that everybody in the room is probably as scared as you, and that you're all geeks who like the same stuff, it gets easier. Another good way to make connections is attending game jams. If you haven't taken part in one, go find the nearest one! Go out, help your team, and if you're any good at what you do, people will be working with you soon.
Q: Can you give us some fun facts?
Sure!
- You can blame the "Massive Recoil" DVD in Simon's room on our artist, David. A lot of the things in Simon's apartment are actually real things David has.
- We try to be authentic with our games, but out Finnish sound guy Tapio Liukkonen takes it really far. We have sequences of him diving into a frozen lake with a computer keyboard to get authentic underwater keyboard noises. It's ridiculous.
- Explaining SOMA to the voice actors was challenging – especially to this 65-year-old British thespian, clearly a theatre guy. Watching Mike explain the story to him made me think that the whole situation was silly and the guy wasn't getting the story at all. And then he went into the studio and completely nailed the role.
- There's a lot of game development in Scandinavia, particularly in Sweden and Norway, because it's dark and cold all the time so people just stay indoors and make games. Just kidding… or am I?
Art assets are apparently not available yet due to some non-free placeholders, but I hope this will be changed soon. Also no multiplayer, but that might be possible to fix.
Also really cool would be a Occulus Quest VR port via the already available and quite awesome Darkplaces VR port called QuakeQuest.
Have you ever thought that how freely available games like PUBG or COC end up earning more money than paid games? So here how it earns money :
There are actually below given ways through which such games earn money.
1. In-app purchases:
You might have seen that PUBG allows the player to buy many additional skills and guns with real life money. The same applies to other online games also. They are mainly cosmetic upgrades but still rake in quite a lot of cash.
2. Ads driven revenues :
While playing some games or using some apps you might have seen that there are ads or pop-ups. These are actually the primary way of earning money for such games.
Though games like PUBG earn less by in-game ads so they focus on earning money through in-app purchases.
3. Targeted ads :
It is rumored that the big companies sell your data (in PUBG it is primarily the voice chat ) to the ad-companies for money. By listening into the audio devices they pick up keywords which are in-turn sold to advertisers for a large profit.
So this was how PUBG earns money. We hope you liked this. For more interesting topics on PUBG click here or on the link :
Cyberpunk 2077 | Release Date, Trailer, Gameplay, News: Cyberpunk 2077 is expected to release in 2019 and the publicity is just going to fortify as we take in more about CD Projekt Red's next open-world RPG. Subsequent to taking a profound plunge to discover every one of the points of interest we could in its long gameplay make a big appearance, we discovered that that was only a tip of an iceberg - anticipate that Cyberpunk 2077 will have about the same number of missions as The Witcher 3. Gratefully, you don't need to sit tight for the following enormous information dump from the studio to discover more as Pro-GamersArena has compiled everything you need know about the game including latest news, trailer, gameplay, release date and more... Quick Facts :
Release Date: TBA
Developer: CD Projekt RED
Platforms: PlayStation 4, Xbox One, Microsoft Windows
Engine: REDengine 4
What is Cyberpunk 2077?
On the off chance that you were expecting a science fiction enhanced variant of The Witcher, you might reel at this moment. Cyberpunk 2077 is an all-new IP from CD Projekt Red, trading Geralt's dream setting for one with a brilliant, neon science fiction stylish. Cyberpunk 2077 utilizations the first-individual point of view to put players solidly in the boots of a low-level weapon for-contract on the cutting edge boulevards of Night City, and it likewise functions admirably with the amusement's propensity for quick paced gunplay. So, 2077 is a long way from a straight first-individual shooter: discourse drains flawlessly into the investigation, hacking and designing abilities can get all of you sorts of spots shouldn't be, and there is even a pack of non-deadly (or just non-weapon) alternatives for battling. In addition, there is still a touch of third-individual amid scripted cut scenes and driving around the city. Remember that all that we've seen so far is liable to change, however, it's all extremely encouraging.
Cyberpunk 2077 trailer – How's it?
The second trailer for Cyberpunk 2077 is an obvious contrast to the main: it was made inside the preoccupation engine and shows scenes from the entire route crosswise over Night City, as opposed to the essential trailer which was worked with CGI and happened generally speaking in one super-moderate development minute. We see distinctive scenes of life, spreading over from a cable car auto to a city street to inside a corporate office, and a storyteller instructs us concerning how things kinda suck around here yet people keep sticking in at any rate. Turns out the storyteller is our principal character 'V' which we will play or one possible shape, and things quickly uplift with scenes of colossal weapons, lifted shootouts, and auto seeks after. Cyberpunk 2077 Gameplay Preview.
Cd Projekt Red RPGs gave you a really conventional take a gander at the universe of Cyberpunk 2077 amid Microsoft's meeting. While past CD Projekt Red RPGs have constrained you to play as a solitary character, Geralt, who you couldn't tweak in appearance, Cyberpunk will give you finish control of your character. You can be either a male or a female cyberpunk, and you can likewise change more granular highlights, for example, hair compose and shading, and in addition including tattoos. Regardless you'll be called 'V' however, that part doesn't change.
The game is set in 'Night City', Located about somewhere between Los Angeles and San Francisco, a tragic megacity loaded up with flying autos, high rises, and obviously sorted out wrongdoing. It appears as though the game will depend on you keeping different groups in this city upbeat as you play. From the get-go in the demo, we have demonstrated a group pioneer called 'Drax', who gave us a vocation finding a stolen bit of military equipment and getting it into his criminal hands. In spite of the fact that we got the impression you could pursue the road group yourself, our demonstrator included a corporate specialist in the mission's story with the end goal to get the assets to only buy the bot from the pack.
We just got a little gander at the gear that is accessible in the diversion, however it would seem that there's a monstrous blend of firearms to purchase, overhauls you can buy for existing weapons, and inserts you can buy to upgrade your very own capacities. One especially gross and dreadful arrangement of foes had a large portion of their appearances missing with the goal that they could introduce a Splinter Cell-style set of sparkling red eyes. 2077 is a grimy and chaotic world, and it's each piece the grown-up focussed experience we've generally expected from an engineer like Projekt Red. When we got into the meat of the mission, it exited no doubt as far as we can tell this is a firm mixture among RPG and shooter, as opposed to a shooter with RPG components. which is gonna be F**king cool!!
Cyberpunk 2077 owes a ton to this great science fiction establishment, however the execution of its open world places it in another class completely. So it's entirely evident that everybody is extremely eager to investigate the 'Night City' of Cyberpunk 2077.
That's all we know about Cyberpunk 2077 till now, but as soon as we get any news we will let you know, Till then keep sharing and stay in touch with 'Pro-GamersArena', " THE PRO-BROS ARENA"
Over the next couple of months, quite a lot of people may be ill and need help with practical things like shopping and medicines. Maybe not yet, but maybe soon.
Maybe you can help. Maybe you (or someone you know) will need help. Let's see if we can connect people so that we're ready.
If you can help, or you think you might need help, please let us know here:
https://www.ilovefreegle.org/covid
We're trying to connect people who need help with other people nearby who can provide it.
We don't know how many responses we will get. Maybe we'll just get a few - if so then we'll leave it in the (washed) hands of other people. Maybe we'll get loads, and we'll need to work out how to put people in touch safely - that would be a good problem to have. We won't pass on your details before getting back in touch with you.
Always Freegle responsibly - avoid contact, wash your hands, self-isolate if you're unwell or vulnerable. If you need urgent help, look at the NHS website (https://www.nhs.uk/conditions/coronavirus-covid-19/).
Keep well,
Your Local Freegle Volunteers
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Freegle is registered as a charity with HMRC (ref. XT32865) and is run by volunteers. Which is nice.
