星际战舰的推荐游戏
游戏名称：星际战舰|star squadron游戏类型：即时策略游戏大小：5.04MB游戏介绍 星际战舰：这是一款跟单机游戏红色警戒类似的策略游戏。在未来的外太空里，战争已经蔓延到此地你操作着你的舰队，代表着你的星球，保卫着你的子民，消灭一切入侵者吧。如何开始游戏加载完毕后点击PLAY - 再点击campaign - 然后点击begin mission - 接着连续按空格键即可开始游戏。基础操作模式和红警差不多。游戏目标控制战机消灭所有入侵的敌人吧
图片上的这个游戏叫什么名字？
游戏：《傲视苍穹》 傲视苍穹是一款由要玩游戏平台独家运营的Q版 玄幻武侠的即时制网页游戏。 游戏以玄幻故事为背景，融合王朝、宗派、武侠等特色为故事主线，构造了一个充满玄幻色彩的游戏世界。成熟的剧情架构，具有成熟用户基础的剧情架构，精致而高清的场景展现，丰富多元的场景设计，青山、绿水、荒原、沙漠等多种地形设计。多元的PK交互环境，三大王朝之间强强火拼，各大宗派之间的资源争夺，个人之间的竞技场玩法。丰富玩法的系统设计，竞技场、个人专属副本、跨服BOSS战等具有丰富可玩性的内容。制作团队秉承“玩家为本”的核心创作思想，一切从玩家角度出发，精雕细琢。为满足玩家需求，不惜放弃大量已完成游戏资源，不断推陈出新，完善作品。最终《傲视苍穹》这款以“可玩性”为主导理念、同时具有强烈的“故事性”的作品，呈现在世人面前。
无厘头太空战役的命令简介
合作（Co-operative）：使战舰能集中火力攻击（建议添加）秃鹫（Vulture）：使之更倾向于消灭敌人已经重伤的单位（建议添加）谨慎（Cautious）：使其在受到X%伤害时撤退，X可调节。（只建议战斗机添加，使其能回“航空舱”修理，其他战舰不建议添加——撤退之后就不会主动再回到战斗了，还不如让他多抗一下）救援（rescuer）：试图救援我方快被击毁的战舰，攻击正在攻击它的战舰（开了“合作”和“秃鹫”之后比较无所谓的指令）。保护（protector）：需指定目标，基本同上。护航（Escort）：需指定目标，只建议反战斗机型战机使用，这样他们就不会一头扎进敌舰队中，而是会像苍蝇围着大便一样（喂）围着目标舰。 编队（Formation）：需指定目标，与目标舰保持队形（一般还是建议添加的，否则护卫舰容易扎进敌人堆，目标舰被击毁后，则命令失效（这一点可以灵活应用）如果想要始终保持队形，可以一个跟一个。反击（Retaliate）：当被攻击时返回战斗（意义不明，给撤退了的战舰用的么？等到那时候的……）保持移动（keep moving）（keep rock）：战舰会保持移动状态，好处是能保持闪避（停下闪避会降低）坏处是，可能脱离火力范围，或是跑到敌堆里被乱棒打死。以上的指令，“护航” “编队” “保持移动”三者只能选一个
为啥打开游戏的时候出现 单机游戏问题专题
你好，从提示信息来看，它是提示你可能因为某些运行库未能安装导致游戏无法运行。若是你点击运行游戏后确实无法正常运行游戏，你可尝试从腾讯电脑管家的工具箱中选择软件管理，搜索LQ运行库大全，点击安装看看。
另外你也可从软件管理中搜索并下载.Net Framework 4.0、4.5版本，这也是一些游戏所需要的系统运行组件之一。
腾讯电脑管家企业平台：http://zhidao.baidu.com/c/guanjia/
打开单机游戏都提示"出现一个问题导致程序停止正常工作"
最简单的方法是重装系统，麻烦的方法那就不知道要说到哪年去了，问题编号你又不说，不知道出现在哪里的问题。我们可以先检查驱动是否最新，再看单机的一些数据库是否齐全，再看del文件是否出现错误，如果你的电脑都没有出错，再检查你的游戏是不是安装出错，是不是需要注册列表，是不是需要启动插件，如果游戏也没有问题，那就是一些基本不可改变的没法解决的问题了，什么64系统不兼容啦，什么内存大小不适用啦，什么游戏运行时出现数据死循环啦。
检查游戏不可玩就是这个步骤~你的问题总出现在这些里面~不过确实太难发现了，所以，重装系统，重装游戏反而是最方便的~
电影勇敢的心观后感 英文的 谢谢了
《勇敢的心》影评
Set in the late 13th century, 'Braveheart' is the story of one of Scotland's greatest national heroes Sir William Wallace. leader of the Scottish resistance forces during the first years of the long, ultimately successful struggle to free Scotland from English rule...
Crucially charismatic in the title role, Gibson plays the heroic figure and emerges as a remarkable hero with wit and romantic soul, determined to rid his country of its English oppressors...
Wallace's revolution was set in motion, with great obstacles from his countrymen... Many Scottish nobles lent him only grudging support as most of them were more concerned with wealth and titles than the freedom of the country... In fact, the Scottish leaders are in favor of revolt-or not-depending on English bribes... Wallace, by comparison, is a man of honor, incorruptible and righteous... He was knighted and proclaimed 'guardian and high protector of Scotland,' but as much as he railed against the Scottish nobles, submitted to Edward I, King of England, he was astonished and in shock to discover the treachery of the leading Scot contender for the throne—Robert, the Earl of Bruce—to whom he confided , 'The people would follow you, if you would only lead them.' Sophie Marceau is exquisite as the distressed princess Isabella of France who ends up falling in love with Wallace, warning him out of several traps...
Catherine McCormack is a stunning beauty who ignites Wallace's revolution...
Patrick McGoohan is chilling, brutal, and vicious as the ruthless Edward I, known by the nickname 'Longshanks.' This king remains simply the embodiment of evil...
While Angus McFadyen moves as a nobleman torn between his conscience and political aspiration, and Brendan Gleeson brings strength and humor to his role as the robust Hamish, David O'Hara is very effective as the crazy Irishman who provides much of the film's comic relief from even the most tensed moments...
Mel Gibson has reason to be proud of 'Braveheart.' It is a motion picture that dares to be excessive... Gibson presents passionately the most spaciously impressive battles (yet staged for films) even excessively, and it is his passion and excess that make the motion picture great... The horror and futility of massed hand-to-hand combats are exciting rather repulsive... It is epic film-making at its glorious best...
Gibson's 'Braveheart' focuses on the human side of Wallace, a character so immense, so intelligent, and so passionate, exploring the definitions of honor and nobility, pushing us to follow the hero into his struggle against injustice and oppression...
求勇敢的心观后感一篇，英文的，300字左右
1
Wags enjoy razzing the 13th-century Scottish epic Braveheart, starring Mel Gibson in the role of freedom fighter William Wallace, as Die Hard in a kilt. Wait till they get to the knobby question of how Gibson's knees stack up against Liam Neeson's in Rob Roy. No matter. Gibson gets the last laugh. Braveheart resists glib categorization. This rousing, romantic adventure is laced with sorrow and savagery. The audacity Gibson shows as the film's director extends to the running time, which is nearly three hours. Hamlet, with Gibson playing the melancholy Dane, was shorter, and Braveheart isn't Shakespeare. Don't panic. Though the film dawdles a bit with the shimmery, dappled love stuff involving Wallace with a Scottish peasant and a French princess, the action will pin you to your seat. With breathtaking skill, Gibson captures the exhilaration and horror of combat in some of the most vivid battle scenes ever filmed.
Wallace was knighted for leading his people in the fight against domination by England. Few facts are known about his personal life, which frees Gibson and screenwriter Randall Wallace (no relation) to run with the legend passed down mostly from the rhyming verse of a poet known as Blind Harry. It's a shame that Harry predates Hollywood by five centuries -- he could have made a killing cranking out kick-ass crowd pleasers.
Gibson's Wallace is a potent blend of Robin Hood, Attila the Hun and, yes, the wags were right, Detective John McClane in Die Hard. Wallace could relate to any story that pits one pissed-off fighter against the system. He faced an English army led by bad-to-the-bone King Edward the Longshanks, played by Patrick McGooban in a classic portrait of slithering sadism. Wallace also had to inspire Scottish peasants and nobles to follow his lead against daunting odds.
It's a ripping yarn, and Gibson could have slid by with the usual hack heroics. Kevin Costner's Robin Hood: Prince of Thieves did just that and still earned a pile. Gibson does it the hard way with attention to detail. He has retained the keen eye for character he showed in The Man Without a Face, his promising 1993 directing debut. Wallace doesn't spring to life as a full-blown legend, though he does speak Latin and French when he returns to his village in Scotland to settle down as a farmer and marry Murron (the meltingly lovely Catherine McCormack), his childhood sweetheart. It's the brutal fate dished out to Murron by the English that makes the farmer an outlaw.
That's when Wallace organizes the villagers into a ragtag militia. Brendon Gleeson's Hamish, James Cosmo's Campbell and Alun Armstrong's Mornay register strongly, as does David O'Hara's Stephen, the Irish warrior who joins the Scottish cause. The teasing camaraderie botched in Robin Hood is expertly handled here. Gibson's impassioned performance as the hero who would not trade his freedom for English gold doesn't shrink from showing the barbarian who emerges at a call to arms.
"Are you ready for war?" Wallace shouts to his outnumbered troops at Stirling. It's the film's first major battle scene and a triumph for Gibson. Trying to stir hundreds of fatigued soldiers to action, Wallace rides his horse back and forth in a frantic effort to be heard. In most historical films, the stationary star manages to move multitudes with a throaty whisper. Gibson jettisons the Hollywood fakery. Riding among the men, his face streaked with woad (a blue dye used to terrify the enemy) and his voice hoarse from yelling. Wallace is a demon warrior crying out for vengeance.
Cinematographer John Toll, an Oscar winner for Legends of the Fall, thrusts the audience into the brutal frays at Stirling, York and Falkirk. Superbly edited by Steven Rosenblum (Glory), these sequences recall the blood poetry of Welles' Chimes at Midnight and Kurosawa's Seven Samurai. Sophisticated weaponry was centuries away. The Scots used hammers, axes, picks, swords, chains and even farm tools to crack skulls as they battered the English in the mud. They also set oil traps on the ground to burn their enemies, though shields and chain mail offered scant protection against the rain of English arrows. "Quite the lovely gathering." says Longshanks, surveying the carnage and dispatching his officers to send in Irish volunteers instead of expert English archers. "Arrows cost money," he sneers.
Gibson's handling of Wallace at war is so thrillingly done that one regrets the subplots that distract from the action. Wallace's flirtation with the king's French daughter-in-law, Princess Isabelle (Sophie Marceau), is fanciful fluff that undercuts his undying love for Murron, and the king's homophobic revenge on his preening son, Prince Edward (Peter Hanly), and the son's boy toy, Phillip (Stephen Billington), comes off as inexplicable gay baiting. Judicious cutting might have sharpened the film's focus and impact.
Still, don't get your kilt in a bunch over a spectacle that provokes such lively debate about the method and madness of war. Filmed with furious energy and surprising gravity, Braveheart takes the measure of a hero with a taste for blood to match his taste for honor. Wallace is an inspiring, unsettling role, and Gibson plays him, aptly, like a gathering storm.
2
Braveheart is an action/drama movie about William Wallace (Mel Gibson). The film is no less than amazing in any way. Though the movie sports us with a 177 minute run time, it is amazing to see the interesting way in which, Mel Gibson behind the camera, works his magic. As the acting is magnificent, and the war sequences are brutal and violent, the film works out as a movie which will always be remembered as a classic.
The film focuses on William Wallace, growing up as a kid, his father was a fighter. After his death, his uncle took him in to watch over him, and teach him how to fight. When he is older though, he meets Murron MacClannough(Catherine McCormack). After he weds with her, she is murdered. Now avenging her death, William sets out ot fight for his freedom, his justice and the right to live.
Mel Gibson did really an amazing job on capturing the character of William Wallace. Putting on the Irish accent, he shows us that he is a great actor and can do some things which we never thought he could do. Behind the camrea though, Mel is a completely different kind of person. He captures the fight scenes perfectly and beautifully. The one thing that was done well though, was the greatly realistic violence and brutal warfare of the film. The violence is spilled nicely, and realistically.
3
Braveheart is another film directed by its star, Mel Gibson. Close on the heels of Rob Roy, this is the second tribute to a legendary Scottish hero, this time round William Wallace, the great medieval warrior leader. Though less clever than its predecessor, it is much grander in its nearly three-hour epic sweep.
The obvious comparison is with Henry V (the Olivier, not the Branagh), and even though Randall Wallace may not be quite so good a screenwriter as Shakespeare, the movie can hold its own. Randall Wallace calls himself the spiritual descendant of William Wallace, and he has deftly incorporated the not many known facts about his namesake, and addressed the legend with gusto and eloquence. The result is an epic that, a few excessively romantic touches notwithstanding, is more realistic than most. These medieval Scots live in ferocious-looking hovels, seem (at least the men) heroically unwashed, and have coiffures in which a kestrel could nest. The friendly punches with which they communicate could easily kill a lesser fellow -- an Englishman, say. Braveheart aims to be a thinking man's epic. ``It's our wits that make us men,'' young William's da tells him, and, after da and big brother are killed by the English, Uncle Argyll continues the boy's education along similar lines. Pretty soon William has turned into Mel Gibson, a young man who wants to settle down and live in peace. But the English are making things hard, what with such things as ius primae noctis (in the film, more tersely but less correctly, the prima nocte) giving the English magistrate the right to deflower each lassie on her wedding night. Braveheartrending business, that. Finally William secretly marries the bonniest of lasses, Murron -- played by the breathtakingly beautiful and talented Catherine McCormack -- but the English get wind of it, and when she won't put out for them, slit her throat in a shattering scene irradiated by Miss McCormack's performance. So William turns avenger and, by one small further step, leader of the Scottish populace (as opposed to the nobles, suborned by Edward Longshanks, the Machiavellian English king). There are plots and counterplots as the nobles sabotage William's efforts, and Robert the Bruce, who wants to help him, is prevented by his leprous father (well played by Ian Bannen), who expects the nobles to crown his son king. And much, much more. The love scenes are so-so, the political scenes ho-hum, but the fighting -- both individual contests and mass battle scenes -- is first-rate, barbaric, and sublime. You might think that so much battle stuff would pall after a while: how much slashing, chopping, stabbing, and skewering -- not to mention mangling and incinerating -- can there be without diminishing returns? Quite a bit; Gibson, to give him his due, comes up with new forms of warfare, better ways to turn charging men and horses into shishkebabs, new modes of battering down castle gates in a rain of boiling pitch from the battlements, fresh tricks to outsmart the enemy. And whereas this much violence with modern weapons would be unbearable, with medieval arms it becomes heroic and exhilarating. There is something appealing about Mel Gibson -- the ruggedly masculine countenance, the quick half-smile, the knack of conveying blue-eyed hurt (as when he discovers the Bruce under an enemy helmet), and a squarer-jawed determination than Dick Tracy's -- that sustains Braveheart even through the unlikely scenes with Isabelle, the Princess of Wales (indifferently played by Sophie Marceau), and through the Wallace's -- or the Gibson's -- unconvincing displays of polyglotism. Add to this the beauties of Scotland, searchingly chronicled by John Toll's inexhaustible camera, the solid supporting performances among which Patrick McGoohan's sardonic-sadistic Edward I is especially noteworthy (never before have terminal consonants been drawn out to such ironic length), and the intelligently deployed music by James Horner. A Scottish acquaintance, George Campbell, questions the use of the sweeter uilleann (Irish) bagpipes rather than the fiercer Highland ones during the battle scenes, but these scenes are so exciting Horner could have used marimbas and I wouldn't have noticed. The film put me in mind of a four-line poem by Scotland's greatest modern poet, Hugh MacDiarmid: The rose of all the world is not for me. I want for my part Only the little white rose of Scotland that smells sharp and sweet -- And breaks the heart. And that is high praise.
4
What is there that can be said about Braveheart that hasn’t been said before? It’s an epic movie that ought to be in the conversation about the best films of the past thirty years. And actually, “epic” might be too small of a word. Braveheart is as much about the inner drama of William Wallace as it is about the life-and-death drama of the war for Scotland’s independence in the late 13th, early 14th centuries. It’s a story told on a grand scale with a great deal craft – and flair (and humor). This is a movie that offers both style and substance. It’s a direct precursor to the success of the Lord of the Rings movies – indeed, one can argue that the success of Braveheart set the stage for those films. True, Braveheart may not have universal appeal in terms of genre, story, or its brutal portrayal of war. But there can be little doubt of the value of a film that is, simply, one of the best I have ever seen.
The success of the film rests on the balance with which the story unfolds. Put simply, there’s something here for everyone: romance, action, character, philosophy, conflict, cinematography, great lines, music, and so on … and it all fits together almost flawlessly. I’m sure if you looked hard enough you could find fault with some parts of the movie, but considering its nearly three-hour run time it manages to avoid pitfalls remarkably well.
This is William Wallace’s story. And through him, the audience is allowed a mirror with which to view itself. This is the true measure of a great story: its ability to not only provide commentary, but also to provoke introspection. And that happens here quite often. One of the film’s most quoted lines is “Every man dies, not every man really lives.” Within just those seven words there is a great deal of thought and sentiment. It encapsulates a philosophy, a raison d’être, that anyone can immediately identify with. And it’s a beautiful philosophy – like carpe diem. And it encourages us to find the purpose and meaning within our lives on a daily basis.
This is also a love story, between William Wallace and Murron – a childhood friend. Theirs is a story that flows effortlessly from childhood tragedy and bonding, to adulthood romance and marriage. Indeed, it is Murron’s murder that proves to be Wallace’s motivation to launch his personal war against England whose king, Edward ‘the Longshanks’ is portrayed with a powerfully brutality in the film, making him a very compelling villain.
Wallace’s quest is joined by a cast that is quite adept in their roles. There are hardly any weak links in the acting of this movie, which means that the underlying themes and conflicts are portrayed to maximum effect from start to finish. Mel Gibson’s directing certainly has to be credited for some of that success.
This is, without question, Gibson’s film. And it’s not without a certain part of vanity from the lead actor and director. If you were looking for a critique, this would be the most fertile ground for it. But for the most part, whatever vanity Gibson may have been displaying is overshadowed by the craft of everything else. The action is riveting, the dialogue is crisp (and profound) and the music is deeply, deeply moving.
James Horner’s score successfully taps into the heritage of Scotland while displaying a full orchestral presentation. The instrumentation and arrangements are all very well done, from wavering flute to the bagpipes to the thunderous percussion during battle sequences.
5
I used to think that the history of Scotland around the end of the thirteenth century was one of those really complicated and messy affairs that could send any historian into a fit of sobbing. So imagine my surprise as I discovered it's really all about a bunch of rowdy guys mooning each other across a battlefield and then playing dodgeball.
"Braveheart" is one of those audacious films that implies that war is "bad" by putting the violence at the forefront, slowing it down and tossing in lots of extra blood, piercings, stabbings, castrations, amputations and assorted mutilations with random insertions of Mel's butt -- just to make sure that the women get into it too. This is all topped off by a really long and protracted moment where the camera lovingly dotes on Mel Gibson as he is taken to a platform to be tortured. It's the kind of moment that makes preschoolers point to the screen and say, "Christ figure! Christ figure!" Either that or: "Look! He's shamelessly grooming himself for the Oscars!" (Oscar committees love Christ figures.)
After three delirious hours the message is clear: Buy an ax, kill a lot of people, wear a kilt, show your butt, screw a princess and (if you have some time left over) repeat this over and over and over and over and over... until you get caught. If ever a movie cried out for a halftime break, this was it.
