تحميل Scream Go Hero
Sacha Weakland
During an attack, players can let their Hero scream by tapping his portrait in the upper left corner. The scream increases his attack rate and calls nearby units to the hero. Units affected by scream also have their attack rate increased. Their moving speed is also increased. Units under the effect of Scream have an exclamation mark above them.
Like spells and scrolls, the scream ability has a cooldown. This cooldown appears do depend on the hero's level so that higher-level heroes can use the ability more frequently. Items marked with an exclamation mark also help decrease this cooldown. When the hero is resurrected, the scream's cooldown is also recharged immediately.
Scream can be used to just increase the hero's attacking power. With increased attack rate the hero is essentially able to deliver more damage per second. This can be helpful in all sorts of situations, but especially when the hero is alone in front of the castle gate and needs to do as much damage as possible.
Using Scream, a player can remove all slowing effects from both the hero and nearby troops. This can be helpful if a defender uses many high level frosters that keep the hero slowed most of the time. The removal of this effect can appear like a speed boost to the hero since he is suddenly able to run at full speed again.
The uninterrupted high moving speed after screaming can be helpful to ensure that an attacker can get the most out of touch & go spells like Firestorm or Sonic Blast. Uninterrupted by slowing effects the hero can take such spells to more enemy units or structures in the short duration that these spells allow. This can greatly increase the impact of such spells but hurts allied troops nearby as they are just dragged along from target to target.
Since scream blocks out freezing, stun, and panic, it can be used to shield units or call them back to order. This can be especially helpful as an effective way to counter the panic inflicted by a werewolf's howl or a mummy's stun. As units are immune to these effects until scream wears off, they're better able to fight those monsters while those still waste time on useless howls or stuns.
If the hero doesn't move, nearby units will reach him and then start to attack enemies in range with a higher attack rate. This often prevents the hero from attacking as he has to stand still or otherwise pull troops with him. Using scream this way often makes sense near at the castle gate, when the increased attack rate from cannons outweighs the loss of the hero's attack power. However, if the hero then has to move to engage emerging troops or use a spell, the advantage is lost while troops stop attacking and just move along.
Sometimes units just ignore an enemy unit or structure and don't move in range to attack them. This can be helpful in situations with longer-ranged units in the next lane, with cleverly placed towers, or with towers right next to the castle gate. Using Scream and moving into the desired position himself, the hero can guide troops into range so that they can start attacking.
Many defenses have chokepoints where enemy units fire from a neighboring lane while attacking units try to fight them off. Often these parts are designed in a way that cannons focus on a structure or mortars in the adjacent lane as well, basically just wasting their time. Scream can be used to save troops away from such battles.
You start with 0%/30s and you can reach a maximum of 100%/10s. No matter if the sum of multiple items will increase this percentage, it will be reduced to 100%. This was needed to avoid the perma-boosted king and troops.
We're neck-deep into Phase 5 now, after all; we've had dozens of movies and streaming series and one-off specials. And while critics can and do bemoan the surface similarities these disparate properties tend to share, the strength of the MCU remains how much variation it manages to offer up in tone, scope, stakes and subject matter. Looking for street-level angst? Cosmic sweep? Paranoid thrillers? Mystic mumbo-jumbo? Sitcom satires? Gods and monsters? Coming-of-age dramas? Subatomic shenanigans? Afro-futurist utopias? Whatever the hell Eternals was supposed to be? The MCU has something for you.
But maybe, after all these years, you find that your own very particular Marvel itch remains somehow unscratched. So I say this to a vanishingly small subset of you: If you've ever found yourself walking out of an Marvel movie and said to yourself, "I liked it. It was fine. But I don't know. I can't help thinking it could have used...just you know a lot more vivisection," then rest assured your tastes have finally been catered to, you sicko freak.
But first: Guardians of the Galaxy Vol. 3 is pitched as a sendoff to the rag-tag gang of misfits first introduced in James Gunn's 2014 Guardians of the Galaxy, who've since cropped up in several corners of the MCU. As a team, they've always leaned more into mercenary violence and bro-ish banter than anything so hopelessly quaint as heroism, though they do tend to wind up saving the day, despite themselves. They've added some new faces to their roster, one of which is technically an old face. (Zoe Saldana here plays an alternate-timeline version of her character Gamora, whom we met back in the first film; long story.)
Also along for the ride: Kraglin (Sean Gunn) a space-pirate struggling with performance issues, Cosmo (Maria Bakalova) a telekinetic space-dog, and a brand new antagonist, Will Poulter's Adam Warlock, a genetically-engineered super-being with the mind of a petulant child in the body of an Instagram fitness influencer.
Look, if you're trying to come up with a villain for audiences to dutifully, even reflexively hiss, eugenicists are a pretty good place to start; I get that. And if said eugenicist should also happen to go about their evil business by conducting unholy cybernetic experimentations on cute fuzzy animals like Rocket (in flashbacks) and innocent, adorable, wet-eyed toddlers (in the present day)? Sure. Fair enough. Bad guys do bad things, after all. It's in the job description.
The problem at the core of Guardians of the Galaxy Vol. 3 isn't the mere depiction of said animal experimentation, which created not only Rocket but a cadre of twee furry cyborg pals we get to (briefly) meet. It's the fact that writer/director James Gunn approaches those scenes without trusting his audience to naturally recoil at the idea of animal cruelty.
There is violent imagery, yes. But what makes those scenes profoundly unpleasant to sit through is not their violence itself, but Gunn's mawkish, maudlin, manipulative approach to it. Using every cinematic tool at his disposal, he so feverishly attempts to crank up the horror of those scenes that he only succeeds in exposing their cynical, plot-driven artifice. And by juxtaposing them with moments in which the experiments' animal subjects spout platitudes about the joy of friendship and their dreams of escape, Gunn's unbearable, ham-handed execution aims for pathos but achieves only bathos, its laughably inept evil twin.
You can only tug on the audience's heartstrings for so long before they start to snap off in your hands. To watch Guardians of the Galaxy Vol. 3 is to watch a filmmaker under the wildly mistaken belief that the best way to get you to absorb what he's saying is by screaming it directly into your ear.
There's more to the film than Rocket's trauma narrative (in those flashbacks, Sean Gunn attempts to personify a younger Rocket by pitching Bradley Cooper's dese-and-dose Brooklyn accent up an octave or two, so we the audience get to experience some trauma ourselves).
The central metaphor of Gunn's Guardians films has been the mixtape. Peter Quill's beloved, long-lost mother made him one filled with classic rock jams that supplied the soundtrack to his life (and to the first Guardians film).
Nowadays, Peter's updated his old cassette with a playlist that provides this third film with a more eclectic collection of needle drops (Beastie Boys, The The, The Replacements, Florence + the Machine).
And like any mixtape/playlist, Guardians Vol. 3 includes some real gems. At one point the team visits a space station that's entirely organic, and the production designers go to town creating doorways like heart valves and airlocks like open wounds. There's an extended slow-motion fight in a corridor featuring digital camerawork that swoops around the characters as they trade punches and kicks and laser blasts in a physics-defying manner. It's visually stunning if viscerally inert, like an extended videogame cutscene.
But some of the other songs in this cinematic mix don't hit as hard as they could. Poulter's Adam Warlock feels shoehorned into the overstuffed proceedings, and while Klementieff's Mantis gets more to do than she ever has, both the character and actor still feel underused.
The Guardians, as a team, have never adopted the usual superhero admonitions against the taking of lives. Even so, a scene in which one of our heroes casually instructs another one of our heroes to "Kill them all," still can't help but rankle.
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