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According to historian Jeff Guinn, the hideout photos led to Parker's glamorization and the creation of legends about the gang. Just a couple of examples. The title track to this album became Haggard's third consecutive number one country single, but it was its B-side, "I Started Loving You Again" the "Today" was added to the title later , that became a standard and his most covered song.

I think I started lovin' you again today. It peaked at number 8, and is his last top ten hit to date. The woman then robs a convenience store, and tells the man to drive away.

Then later that night, the man and the woman are both arrested counting the money in a motel room. The woman comes up to him at a truck stop and asks for a ride. The woman then robs a convenience store, and asks the man to drive away as the clerk is chasing her down.

The man tells her that robbing the store was a big deal, while the woman thought that it was no big deal. He wonders what she was doing with a gun, and he also wonders how much money is in one of her bags. Later that night, at a motel, they're counting all the money, and enjoying themselves, at least until the police arrives, and the man and the woman are both arrested.

The woman tries to fool one of the cops into letting her go, but the cop doesn't buy it. Read on and see if you agree. I love violent games. I love shooting. I heart punching. I make "brrrm! Who cheers for war? I cheer for war. If it's done well. Luckily, violence is one of the easiest things to simulate in a videogame. People both inside and outside the culture of games wonder whether the popularity of realistic warfare simulators is a sign that today's youth are becoming brutalised as though people haven't always been fascinated by war , but sit Jack Thompson, Michael Atkinson, Hillary Clinton and Joseph Lieberman down in a Basic Game Programming class and I guarantee you they will all start by making a 2D shooter if they think nobody is watching.

Sometimes, though, game developers seem to forget that combat still takes a bit of work to get right. Plenty of potentially good non-violent games have been hampered or outright ruined by the unnecessary addition of violent combat, often for no apparent reason except that it must seem like the safe option. Great games know what they are, and don't try to do more.

To illustrate my point, a thought exercise: what would Canabalt be like if it let you stop and shoot the deathbots? Hint: the answer is not "totally sweet". I'd like to suggest that game developers think hard about the purpose of violence in their games, and don't just include it in the design out of habit. If it's going to be an important part of the core experience, great; if not, you may find you can save the cost and make a better game by simply leaving out the violence.

A few recent examples of games that could be improved by toning down the violence: Crackdown 2 The original Crackdown is a great game. Jumping about, collecting orbs, lifting ever-heavier objects and tossing them around, blowing things up in ever-greater explosions; these are blissful in a way few other games have matched.

The assassination missions are really just a cheap cement that holds the experience together and gives you a way to level up your character's skills. The missions never shine, because they have to be completed primarily by methodically shooting a lot of dudes in the face; however, as there's only one gang leader you have to kill in each mission, it's possible to apply your athletic, driving and explosives skills to find shortcuts into their inner sanctum — by climbing up a cliff face from the ocean, say, or ramming through a back door in your supercar — which gave the missions a pleasing puzzle-strategy element.

Crackdown 2, to its credit, doesn't spoil most of what is good about Crackdown, and it makes several improvements that have been unjustly ignored by those quick to call it a microwave reheat of the original. However, it botches the core mission structure by making it all about shooting. Although there are a wider variety of mission types, they all require you to kill a large number of marked enemies in a confined location, without leaving the immediate area.

This completely removes your ability to approach these missions in the style you find most fun, and forces you to grind through each one as a common or garden man-shooter. The game passively prevents you from taking advantage of the best part of the game — jumping and climbing — for the duration of the missions. This limitation was reflected in many of the game's reviews. Christian Donlan's review at Eurogamer was essentially a plea to stick with it through the combat missions, it will get better: Only with the campaign behind you will you start to get a true sense of just how good this game can be… it's the game waiting for you after the end credits that provides the most fun.

For "campaign", read "structured combat". Mirror's Edge Mirror's Edge is a fantastically promising game, but it's not without flaws. It is, in fact, probably more flaw than game, even though it comes close to greatness.

The basic design of continuous free-running through a starkly colour-coded obstacle course is inspired, and although the level design and finicky controls often fail to allow the player to maintain a smooth flow, the one element of the game that never supports the player's experience is the combat.

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Recommend Tweet Share The games industry's lack of diversity -- in terms of gender, race and almost any other criteria you care to mention -- has been well documented. Yet still the conversation rages on as it should. One contributing factor to the industry's problems boil down to the breadth of people seeking a career in games, whether that's making them, selling them, writing about them or whatever discipline requires fresh talent. While there are plenty of initiatives attempting to remedy this, there is still room for improvement. Bonnie Ross, Industries "If someone can see someone that looks like them and they can relate to -- whether that's a character or a developer -- it will have a two-pronged effect inspiring more people to pursue gaming as both a player and as a career," she tells GamesIndustry.

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When you get there at night, you'll hear the voice of the lady ghost and your horse will become uneasy and might buck you off. You can see the ghost with a binoculars from afar. Approaching the ghost will make it disappear though.