UCLan Games Design Graduate Peter Dimitrov Attends BAFTA GURU LIVE

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GURU LIVE

BAFTA's annual festival of talks, workshops and masterclasses


We are delighted that our recent Graduate, Peter Dimitrov 
was selected for the BAFTA GURU LIVE event in London, 
13th and 14th Sept 2019.

BAFTA's nationwide festival offering inspiration and advice straight from the experts!

















Peter's work is available to see on the ArtStation Competition
Peter has detailed blogs about the making of his projects -
bit.ly/pdJapan and https://www.artstation.com/peterdimitrov/blog

Peter was also commended in @TheRookiesCO competition and his 3D environment work was included in Epic Games Unreal Engine Student Showcase Reel 2019, featured on YouTube.
Peter got to meet a lot of people in video games and film and movies at the BAFTA GURU live event in London.

Peter said:

"It all started with a complementary breakfast at 9. There were about 60 people like myself who had been selected to attend. Everyone was talkative and approachable, and an event like this is really cool for networking and making new connections.
An hour after the breakfast, it all kicked off, with a "round table" with a professional. Mine was with Will Byles, I got to meet and ask questions, and he even gave us his email, so I can drop him a message if I have questions for him. 
After that was one-to-one sessions of 15 minutes where we had opportunity to speak to more people. I actually got to speak to an Environment Artist I met over at the Feudal Japan Challenge at ArtStation. He had even had downloaded my CV and made some comments and feedback on it. Extremely useful! His name is John Griffiths. I also spoke to Amanda Allen who is current writer and designer at 'No Man Sky.' Masterclasses and talks were also super useful."























Ragnarok: Temple Of Doom

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You win some, you lose some.
           
Ah, roguelikes. There's no other sub-genre in which this kind of narrative makes any sense:
           
When I walked into the room, I saw a deadly asp on the other side of it. I didn't want him to get too close, so I killed him with my shurikens. I wanted to eat his corpse to get intrinsic poison resistance, but I didn't have any artificial resistance, so I knew trying would kill me. I had three unidentified rings, one of which might have been a Ring of Immunity, which would have protected me from poison while I ate him, but I only had one Scroll of Identification, and I was hoping to hold onto until I found a Scroll of Blessing because blessed Scrolls of Identification identify everything in your pack. I tried one of the rings blind, but it turned out to be a Ring of Relocation, and it teleported me to another part of the dungeon. While I was trying to make it back, I stepped in quicksand and started to drown. The only thing I could think to do was drink an unidentified potion, hoping it was a Potion of Phasing, but it turned out to be a Potion of Lycanthropy, and my character dropped all his stuff when he changed into a werewolf, then ran around the dungeon killing everything he encountered for a few minutes. Eventually, he turned back into a man, but I got killed by another deadly asp before I could get back to my equipment. C'est la vie.
                
There's so much to learn, and enough that works differently from NetHack that I'm not sure if my previous NetHack knowledge is a blessing or a curse--an apropos phrase, as I spent forever trying to figure out how to use Holy Water to remove curses and/or bless things before coming to the conclusion that it simply doesn't work that way in this game. As far as I can tell, Holy Water just increases your luck. You have to find Scrolls of Dispel Hex and Blessing to do the other things. But if you do find a Scroll of Blessing, a good use for it is to bless your Scroll of Identification, because blessed Scrolls of Identification identify all your items, not just several as in NetHack. To find monsters on the level, I don't want a Potion of Monster Detection; I want a Potion of Depredation, which sounds like a bad thing. If you do find any "bad" potions, don't save them to throw at enemies because that doesn't work here.
          
And maybe stay away from mushrooms entirely.
            
The worst part is the monsters. While NetHack and Ragnarok have a lot of overlaps in terms of equipment, the bestiary is almost entirely new. It makes good use of Norse mythology, yay, but I've got to learn every enemy's special attacks and weaknesses again. I started keeping a list of enemies to particularly avoid, but it ended up including almost all enemies. Jacchuses give you a disease that prevents you from healing. Kalvins pluck your eyes out. Pale Mosses destroy your brain tissue, which causes you to forget potions, scrolls, and such that you've already identified. Ramapiths toss fireballs. Red oozes devour your weapons and can't even be killed by regular weapons. Ulls disorient you; Predens give you fevers; Retchweed makes you hungry; Gas balls deafen you; Pelgrats suck charges from wands that you carry. I've barely gotten started.
           
I had lycanthropy for a while. It was worse for the other creatures in the dungeon.
          
I've spent a lot of time debating whether to try to eat slain enemies or not. Ragnarok doesn't seem to have as many enemies whose corpses give intrinsic protection, but they're definitely there. The aforementioned asps will give you poison resistance if you can survive eating them. Fire dragons confer fire resistance. I haven't found much else. What I can tell you is that troll corpses do not confer regeneration, wight corpses do not give you experience, and giants do not give you strength.

Ragnarok seems to offer more items and monsters that rearrange the physical environment than other roguelikes. In NetHack, you could take a pick-axe to just about every solid part of a level, and you can do that here, too, but there are also traps that fill rooms with water or lava, cause the ceiling to collapse, or replace all the external walls with monsters. There's a scroll that summons lava, and another that randomly plants trees wherever you are. There's an artifact called a "disruption horn" that you can use in the doorway of a room to cause the ceiling to cave in, killing whatever monsters are there (you get the experience!). A creature called a "mudman" leaves gobs of mud everywhere. There's a wand that just blasts the hell out of everything you point it at, including floors, walls, and anything in between.
          
Using my horn to collapse the ceiling on a roomful of deadly moss.
           
I spent seven hours exploring the dungeon beneath the forest, and I have nothing at all to show for it yet. It's three levels with nine maps per level--as big as Rogue by itself. Commenters were right: the game got a lot harder once I left the forest. I've been trying not to abuse the backup system too much, but thank the gods it's there. Some of my more amusing deaths include:

  • I stepped on a mist trap, which confused me. Confused characters in this game sometimes randomly use their items, and in this case, I ate a mushroom that turned the whole world hallucinogenic before killing me.
  • I ate some creature that turned out to be made of lava.
  • I stepped on a trap that turned all the surrounding walls into wizards, who quickly surrounded and killed me.
           
At least the hill giant probably won't make it out, either.
         
  • The one below didn't kill me, but it made life hard enough that I reloaded.
         
What kind of potion was that!?
         
One of my most heartbreaking deaths came late in this session, when I had just come across a Wand of Wishing. These are as useful here as they are in NetHack except I don't really know the specific names of the best equipment to wish for. Since I'd already activated the first wish by using it at all, I wished for one of the only high-level items whose name I reliably knew: Mjollnir. For some reason, I got a sword instead. Before I even had a chance to investigate it, a bartok came wandering into the room and killed me with a sonic wail. My previous save was well before this area was seeded with equipment. Lesson learned: save after you find Wands of Wishing.
           
In retrospect, the best answer would have been: "I wish I wasn't so excited about having found a Wand of Washing that I'm failing to notice the dude coming up from the southeast."
       
A lot of my woes are equipment-related. I'm constantly over-encumbered, made worse by the fact that I don't understand how a lot of stuff works. But there are good things to report. I have a full set of armor, including a "holocaust cloak," which protects against fire and I think is an homage to The Princess Bride. I have both a Ring of Locus Mastery and a Ring of Relocation. This means that every 12-100 rounds, I get teleported, but I can direct my destination location. It gets me out of a lot of fights and traps, and if I don't want to move, I can just specify the next square I was going to walk into anyway. It would be nicer to have these powers as intrinsics, but with the ability to equip 8 rings, you don't feel like you're wasting a slot as much as you do in NetHack.
           
Thankfully, my Ring of Translocation will eventually get me out of here.
         
In other good news, a blessed Scroll of Enhancement empowered my silver sword up to +9. In bad news, a red slime then ate the sword. Then I found another blessed Scroll of Enhancement and got a spear up to +15. You have to roll with the punches in roguelikes.

Two Scrolls of Knowledge bestowed my character with the "Terraforming" and "Identification" abilities. I haven't tried the former yet, but the latter seems to render Scrolls of Identification moot. I wish I'd known to wish for Scrolls of Knowledge back when I had that Wand of Wishing.
           
That's one logistical concern I no longer have to deal with.
           
On Level 2, I found an enemy named Scyld, who was so powerful that I assumed he must be some kind of "level boss" and likely in possession of one of the quest items. I reloaded half a dozen times before I finally killed him, but it turns out he didn't have anything special.
            
This seemed like a unique enemy, so I thought there would be more to him.
          
The real conclusion of the dungeon came via a hole I found on Level 2, which led to some kind of temple, preceded by a title screen. The game strikes a good balance between random level generation and some fixed level content, as this particular level shows. Its enemies are chiefly "guardians," who root in place unless you walk next to them, at which point they become hostile and generally kill me in two or three blows. My teleportation abilities plus careful navigating led me to avoid most of them.
          
Entering the temple. These special screens help create an atmosphere lacking in a lot of roguelikes.
            
I soon encountered a warrior named Hrethel, standing on a stump with a noose around his neck. He pleaded for freedom, but I had options to kick out the stump and do nothing instead of setting him free. (Note that the developers, finding no good way to operate this encounter with the usual game commands, just provided a special options menu. In both this and the graphics, the authors of Ragnarok show more flexibility than a lot of roguelike authors.) Of course, I chose to free him. The grateful Hrethel joined my character, but before I had a chance to figure out what that really meant, the god Vidur attacked and killed me instantly.
           
I like that the game supports these special options in addition to the usual plethora of roguelike commands.
           
In subsequent trials, I learned that Vidur always gets angry and appears if you rescue any of the three captives on the level. If I chug a Potion of Speed, I can act as often as Vidur and can wound him, but he always pounds away my hit points in two or three turns. My Orb of Imprisonment doesn't work on him. Neither (it seems) do several wands. He has no special attacks (so far), but his physical attacks are devastating. I'm going to roam around the dungeon some more and try to build my resources before giving him another run, as I have several unexplored screens on Level 3.

I'm still enjoying Ragnarok, but I have a feeling it's going to be way too long. I also forgot how exhausting roguelikes are. You have to watch every step, pay attention to every message, and stop and think before every combat. Life and death can hinge upon whether you take a beat before entering a room, or whether you take a corner using a diagonal movement key or two lateral movement keys. NetHack taught me to stop, pause, and think between moves, which serves me well here, but it also means that it seems to take forever to get through a level and yet you still have to pay rapt attention.

The lack of permadeath helps, of course. I'm quite careful to save every 200 turns and usually glad that I did. It means that I have a reasonable chance of getting through the game without having to look at spoilers, since underestimating an enemy or misdiagnosing a piece of equipment doesn't mean that I'm starting over from scratch. But 200 turns are more to make up than they sound, and it's especially jarring when, thanks to the nature of randomization, the same stuff doesn't happen the second time.

Because of reader comments, I never did switch to the Valhalla version of the game. It's a more apt name, since far more of my characters will have ended up there than at Ragnarok.

Time so far: 10 hours

StarTropics (NES)

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StarTropics title screen
Developer:Locomotive, Nintendo R&D3|Release Date:1992 (1990 in NA)|Systems:NES

This week on Super Adventures, I'm thinking about how much StarTropics' title screen reminds me of the title screen of Metroid. They've got the same 'text floating in front of a twinkling starfield' look. Though Metroid has fewer palm trees.

StarTropics is fairly well known among people who aren't me, but I never played it myself. In fact I thought it was a SNES game until I looked it up. I'm still not sure how it plays, but if I had to guess I'd say it was probably going to be a little like that Secret of Evermore game I wrote about in January. The two games definitely share one thing in common: their titles both start with the letter 'S'. Also they were both developed with a Western audience in mind and never got a release in Japan. They even left it off the Nintendo Classic Mini Family Computer (aka the Famicom Mini) despite it being one of the 30 games that came with the NES Classic in other regions.

It was produced and written by a Japanese game designer though, Genyo Takeda, who was apparently also responsible for a: putting battery backed-up save RAM in the cartridge version of The Legend of Zelda and making that a thing, b: sticking an analogue thumbstick on the N64 controller and inspiring Sega and Sony to do it too, and c: holding the Wii back so that it was a generation behind the Xbox 360 and PS3. He became the manager of Nintendo's hardware development division in 1980 and didn't retire until 2017, so he was a fairly influential guy during the entire history of video games. Plus he produced Punch-Out.

Read on »

Life, The Universe And Everything Symposium Preview

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On February 13–15, 2020 I will once again be attending Life, The Universe and Everything Symposium (LTUE Website). There is always something for everyone who wants to be involved with being creative in multiple forms of communication media. This year is no exception. There are development tracks for developing skills writing books, screenplays, and theater, along with developing games, both electronic and tabletop. And if you're interested in creating art for any of these there are events for those.

This is the first major writing event I ever attending and I recommend it for people who ask me about a good place to start. It's been going since the 1980s and has great guests and teachers that know what they are doing in their fields. This year includes internationally recognized artists (Howard Lyon), writers (Kevin J. Anderson), and media artists (Megan Lloyd) along with many others. For gamers a professional game master is a guest of honor (Natasha Ence).

The symposium focuses on science fiction and fantasy, but really if there is something in the creative fields you are interested in, there are a lot of like-minded people attending.

Howard Lyon
Megan Lloyd















In past years I've had the opportunity of meeting writers who have inspired me to continue doing what I am doing. They have also challenged me to becoming more, because that is the direction I want to be go. I've also had a chance to meet with some of the people who read what I write on a regular basis. This year I will sitting on a panel with one of them. It's a wonderful experience to share time with all of them.

This year I will be on four panels dealing with gaming and writing. After the symposium I will give cover some of the information that we discuss on the panels, but there is nothing like being there and getting the information unfiltered.

As I prepare for the topics I wanted to let everyone know what is being covered and to open up the discussion a little before hand to answer questions you may have about the topic. If you have a specific question for one of the panels, please send me a note as a comment or an email. I will do my best to include the questions I get into the panel discussion.

Here are the panel titles and the short description we were given.

Natasha Ence
Kevin J. Anderson
















Narrative Arcs in Board Games

While often overlooked, board games can be an effective storytelling medium. This can range from the game actively telling a story to passively telling the story through the mechanisms in the game. Learn how to unlock your game's storytelling potential.

Oaths and Honor: Expressing a Character's Code of Conduct

Every society operates according to social norms, a sense of justice, and moral codes. How do you write characters within their ethical contexts and make those contexts compelling?

Cooperative Games 10+ Years After Pandemic

Pandemic created a new type of board game with cooperative elements. How this has changed the world of board games and what does this mean today?

Dancing in the Dark: How to Get the Most Out of Playing Evil Characters

Evil characters can be fun and challenging to play but can cause both campaign and interparty issues. Are there solutions to these problems, or are they inherent in the type of play?

Again, I hope to get the chance to meet with more people who share my interests. If you are attending, please say hello. Because I still have a day job, I might not be there all day on Thursday, but I will be there on Friday and Saturday. Because of the schedule of being a panelist and other courses I don't spend much time in the game room. But it is awe inspiring to game with someone who has their work published internationally. I have also had the chance to playtest some great games.

I'm working at keeping my material free of subscription charges by supplementing costs by being an Amazon Associate and having advertising appear. I earn a fee when people make purchases of qualified products from Amazon when they enter the site from a link on Guild Master Gaming and when people click on an ad. If you do either, thank you.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

I have articles being published by others and you can find most of them on Guild Master Gaming on Facebookand Twitter(@GuildMstrGmng).


Playtest Day: Revisiting Automatown And Riders Of The Pony Express

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The ball is back in Michael's proverbial court for the game I've been testing lately (Sails & Sorcery), so Saturday I brought two games I've had on the back burner for a while: Automatown and Riders of the Pony Express.

Automatown

It's been 2 years since I initially prototyped this worker placement game where you use your workers to build more workers, and it's been almost as long since I got it to the table. The basic premise is that you're building robots out of head, arm, torso, and leg pieces of high, medium, and low quality (as well as scrap). You can make a generic robot with anything, which gives you another works, and adds 1 strength to your army of robots, but if you get the correct combination of head, arms, torso, and legs, then you can complete a blueprint and make a better robot -- stronger, or with a cool ability you can use each time you send it out.

Challenges with this one include things like (a) the scary look of 13 different resources (even if there are really only 4, each with 3 levels of quality -- but since the blueprints require specific levels of quality, it kinda IS like there are 13 different resources), and more importantly (b) the "combo-y" nature of the abilities does not seem to be coming through, so there isn't a strong feeling of engine building to be had.

I got some good notes, some of which had come up in previous tests, but it's been so long I'd forgotten about them, and I hadn't updated my prototype (friendly reminder: keep our prototypes up to date!). Things like making a specific set of starting worker placement cards, to ensure the first round has useful actions for example. Also, reducing the game end trigger for 4 players, so that the game ends before players have 10+ workers each and the blueprint deck runs out (also, I could make more blueprints). Also, I think I need to improve the engine building aspect / combo-y nature of the robot abilities (again), because it seems like players weren't feeling like they were able to build combos.

Some good ideas that came up this time include:
* Rather than taking any card from the 3 available blueprint cards, take the 1st (if you placed 1 worker), 1st-2nd (if you placed 2), or 1st-3rd (if you placed 3 workers). Ether that, or take any one you want, but to access the cards deeper in the row, pay resource cubes onto the ones before it (as is common in games with a card row). I like both of those ideas, and I'm not sure which I like better.
* Possibly making the higher level resources cost more to get, since currently it felt easy to get what you needed. Currently things are designed and balanced such that the high quality resources are worth more than the low quality ones -- a low quality torso is worth 2 (scrap + upgrade), and a high quality torso is worth 4 (scrap + 3 upgrades), which IS more, but with so many workers, and so many ways to get, upgrade, and swap resources around, it didn't feel hard for players to get what they needed (though by definition, they were paying more for it). I think overall the system might just be too flexible. If I re-balance things so that going up a level requires not just an upgrade action, but also a scrap (+2 units), then that might make the higher level resources somewhat harder to get, and it might also simplify the worker spaces, some of which are oddly designed in order to get the values right.
* Maybe cut a whole resource type, and just have head/torso/legs, reducing the resource variety by 3, and the cost complexity by 25%

Some ideas that I'm less sure about, but which certainly bear considering or trying include:
* Separating scoring from building robots. Make it so you build robots for workers and abilities, but then do scoring some other way.
* Making a sort of Master Blueprint that you could improve/update, to give a better sense of "that player wants that type of resource," so that you can plan and block better.
* Maybe don't require 1 of each type per robot -- instead maybe have a robot that requires multiple heads and only 1 torso, for example. Or change the resources to be things like actuators and power cores instead of heads and torsos. With good iconography, the costs would be clear enough, it's not necessary to make sure each robot has each of the 4 types of resources. This may also help the engine building aspect, since you won't need to always get all 4 resource types (something the swap ability was supposed to help with)

I definitely got a lot to think about for this one, and I'll be revisiting my prototype soon to try another version.

Riders of the Pony Express

This is another "oldie-but-a-goodie" from the back catalog. My last blog post about playtesting this one was 4 years ago (whew!), but I might have played it since and not posted about it. The premise of this one is that you're a rider for the Pony Express, tasked with delivering parcels to various towns on our way from Missouri to California and back. You haggle with your fellow riders, trying to get people to take your parcels for you, and offering to take parcels that are on your way, before riding from town to town to make deliveries. This was my attempt at a low-bid auction, initially a "count-up" auction, where the auctioneer would count up from 1 to 10 or until another player jumped in to claim it, I think it works better as a blind bid (even though generally speaking I hate blind bids). However, it's possible that the "count up" auction could be a variant rule, because non-designer/social gamer types seemed to like it.

This game went over pretty well with my playtesters, and a new rule I found hand written on the rules page was a great change that I don't think I'd tried before. In the past I'd had some trouble with the 5 player game, and decided maybe it should just be a 4p max game, but this new rule might actually make 5p work just fine after all. The rule is that you leave your bid card out, so you can't bid the minimum ($3) over and over again. We clarified that to be that the bid winner leaves their card out, which must be what I had meant in the first place :)

I was hard pressed to find anything I really wanted to change for the next test of this. I think I'll boost the Bear hazard up by 1, to make them more different than the Bandits, and to make the Shotgun item more attractive. I also might try a tweak to the delivery phase based on some comments that one of my testers felt strongly about.

All in all, a good playtest day. We even played Dave's video game prototype, which is a pretty fun spaceship building/dogfight/king-of-the-hill ting based largely on one of my favorite old arcade classics, Rampart.

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[Hackaday] Inputs Of Interest: Ears To Communication For Everyone

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Inputs of Interest: Ears to Communication for Everyone

What Is A Canted Sight In PUBG?

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Ever tried to use two attachment in one weapon at the same time. "It's impossible" you might be saying. But it's possible now because PUBG has launched a new feature recently called Canted Sight which is a secondary attachment. Read more to know more about it, how to use it, what precautions to take etc.




About it :

 
                 Canted(meaning tilted) Sight is basically a new attachment that allows a player to quickly switch between the 1x Canted Sight and the other scope or attachments used. It is a secondary attachment. For now, it is only available on PUBG PC but PUBG might bring it on other platforms too.

How to use it :

 
                       The Canted Sight is actually the tilting of the gun at an angle. This can be done by pressing ALT+Right Click or one can change this to his own comfortability in the Settings menu.

In which weapons can Canted Sight be used:


        Canted Sight can be used in the following weapons :





Precautions : 


1. Following points about primary sight should be remembered:


         I. If you equip Canted Sight only, your primary attachment will be the Canted  Sight.

           
        II. If you equip Canted Sight before any scope, your primary attachment will be the canted sight.
          
         III. If you Canted Sight after any scope, your primary attachment will be the  Canted Sight.

 2. Attaching the Canted Sight might change the weapon's position and view of angle for the user but there will no changes in the gunplay.


3. It can affect the peeking towards left or right. 

Brave Browser voted the best privacy-focused product of 2020

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Out of all the privacy-focused products and apps available on the market, Brave has been voted the best. Other winners of Product Hunt's Golden Kitty awards showed that there was a huge interest in privacy-enhancing products and apps such as chats, maps, and other collaboration tools.

An extremely productive year for Brave

Last year has been a pivotal one for the crypto industry, but few companies managed to see the kind of success Brave did. Almost every day of the year has been packed witch action, as the company managed to officially launch its browser, get its Basic Attention Token out, and onboard hundreds of thousands of verified publishers on its rewards platform.

Luckily, the effort Brave has been putting into its product hasn't gone unnoticed.

The company's revolutionary browser has been voted the best privacy-focused product of 2019, for which it received a Golden Kitty award. The awards, hosted by Product Hunt, were given to the most popular products across 23 different product categories.

Ryan Hoover, the founder of Product Hunt said:

"Our annual Golden Kitty awards celebrate all the great products that makers have launched throughout the year"

Brave's win is important for the company—with this year seeing the most user votes ever, it's a clear indicator of the browser's rapidly rising popularity.

Privacy and blockchain are the strongest forces in tech right now

If reaching 10 million monthly active users in December was Brave's crown achievement, then the Product Hunt award was the cherry on top.

The recognition Brave got from Product Hunt users shows that a market for privacy-focused apps is thriving. All of the apps and products that got a Golden Kitty award from Product Hunt users focused heavily on data protection. Everything from automatic investment apps and remote collaboration tools to smart home products emphasized their privacy.

AI and machine learning rose as another note-worthy trend, but blockchain seemed to be the most dominating force in app development. Blockchain-based messaging apps and maps were hugely popular with Product Hunt users, who seem to value innovation and security.

For those users, Brave is a perfect platform. The company's research and development team has recently debuted its privacy-preserving distributed VPN, which could potentially bring even more security to the user than its already existing Tor extension.

Brave's effort to revolutionize the advertising industry has also been recognized by some of the biggest names in publishing—major publications such as The Washington Post, The Guardian, NDTV, NPR, and Qz have all joined the platform. Some of the highest-ranking websites in the world, including Wikipedia, WikiHow, Vimeo, Internet Archive, and DuckDuckGo, are also among Brave's 390,000 verified publishers.

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