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TOP 7 Offline FPS Games For Android Not Available On Playstore

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TOP 7 Offline FPS Games For Android Not Available On Playstore

Gaming! We are back to gaming once again. Google has given us a blessing in the form of Play Store where we can download an app, may it be gaming, personalization, family or anything. Each she every app in Play Store has over a million downloads, showing us the quality of the apps that it gives us.

But when it comes to gaming, we the gamers are ready to play any game anytime from shy source possible. And there are various games that are not so easily available on Play Store. But these can be downloaded from other sites.

In this article, I am going to list the 7 Offline FPS Android games that aren’t available on the PlayStore. I will be providing the links as well. So go and check them out ASAP.
Here they are –

1. RAMBO

Rambo-The-Video-Game-Download

Rambo-The-Video-Game-Download

You must have seen the three successful Hollywood film series, Rambo starring Sylvester Stallone in the lead. The film was a huge success, and it prompted the makers to go in for a game development. So here it is.
It is an FPS game, so you will be tested in your quickness and tactics. A lot if enemies will be thrown to you and you’ll have to be too quick in using your weapons and killing them. A vast amount of weapons will be provided, from Colt М1911, Remington 870, machine gun АК-47, to a mounted machine gun M60. You’ll be in a vast territory, running, killing enemies and picking up your choice of weapons. Go for it. Become John Rambo and kill the enemies.

RAMBO

RAMBO

2. EDGE OF TOMORROW: THE GAME

 

edge of tomorrow

edge of tomorrow

It was a film starring Tom Cruise in the lead and the film was all about saving the world from Aliens. The film did superbly well in the box office and hence, a game was made.
In this game, you’ll feel the real character. With awesome graphics, this game is a blast. You’ll be taken to the landing zone from the starting where you’ll have to destroy ask the Mimics, the aliens. Don’t worry, if you die, you’ll respawn just as Tom did in the film. You’ll get an awesome experience killing the aliens all around. Check out yourself.

EDGE OF TOMORROW: THE GAME

EDGE OF TOMORROW: THE GAME

 

 

Read More: TOP 7 PAID ACTION GAMES TO BE PLAYED ON ANDROID DEVICES

3. MODERN COMBAT 2: BLACK PEGASUS

MODERN COMBAT 2: BLACK PEGASUS

MODERN COMBAT 2: BLACK PEGASUS

Another game which smashes the list. One of the top FPS game, Modern Combat has brought us many babes in the series. And this is the second part.
As an American Infantry, you’ll be provided various weapons to take down terrorists. Play solo or with your friends all around the world, it’s your choice. A very basic and easy control has been provided and the HD graphics help you further. You’ll pass through 12 missions all around the world and will be provided with a wide variety of guns to choose from. You are a Call of Duty fan? Then this one’s for you.

MODERN COMBAT 2: BLACK PEGASUS

MODERN COMBAT 2: BLACK PEGASUS

 

4. NOVA 3

nova3

nova3

NOVA has been killing the gaming experience all around. With NOVA Legacy being easily available in the Play Store, the 3rd version isn’t that available there. But don’t worry, I’m here.
This game starts as four months have been passed since Kal destroyed the Volterites plans by sabotaging the War Factories. He also stopped the extraction of Judger Artefacts. This game comes with a lot of features – awesome storyline, high graphics, 10 spectacular missions to complete and many more. You’ll get many new weapons to use. You’ll be able to jump, run, drive vehicles, plant a mech to destroy enemies and much more. Check out!

4. NOVA 3

4. NOVA 3

5. RAINBOW SIX SIEGE VANGUARD

RAINBOW SIX SIEGE VANGUARD

RAINBOW SIX SIEGE VANGUARD

Tom Clancy’s Rainbow Six Siege Vanguard is another Gabe in the Rainbow Six Siege series. Developed by Gameloft, this FPS game is a bit different from other FPS games. It depends more on tactical gameplay more than on standard shooting. It has three modes of play – single player campaign, an online co-op mode, and an online deathmatch mode. You’ll get tons of weapons. High-quality graphics and gameplay add to the experience. There are four levels of difficulty in single-player and co-op modes; “Recruit”, “Operative”, “Elite” and “Rainbow Six”. Experience them yourself.

RAINBOW SIX SIEGE VANGUARD

RAINBOW SIX SIEGE VANGUARD

Read More: The One Friends Mistake You Probably never noticed will make you see the show completely differently

6. NOVA 2

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And Nova 2 Near Orbit Vanguard Alliance is the 2nd part of the NOVA game series. Play as Kal Warden, who after retirement is once again back to business. Play in 12 mission chapters, which will lead you through unfriendly but picturesque places in the Orbit. Collect ask varieties of guns, including a pair of pistols, a shotgun, an assault rifle, a sniper, launcher, automatic shotgun, alien Plasmon, a grenade launcher, turrets, mines, and fragmentation grenades, and added to these are too rare possibilities – freezing and a melee disk. And, you get to play multiplayer battles, which can extend up to 10 players. Go enjoy the action.

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7. MODERN COMBAT 3: FALLEN NATION

modern combat 3 fallout nation

modern combat 3 fallout nation

I will state this at first – it is available in Play Store now. But it’s in the list because it’s a realistic FPS game, now with more intensity.
One of the most realistic FPS game is back. Fight through a 13 mission campaign and experience different types of gameplay – escort, destroy, helicopter, 4×4 chase etc. You’ll get a multiplayer mode that can have 12 players, in 6 exclusive maps and 7 different modes. Customize your own weapons and fight the battle!

MODERN COMBAT 3: FALLEN NATION

MODERN COMBAT 3: FALLEN NATION

These were the FPS games which you should play once at least. I will be bringing more soon. Till then stay tuned.

Read More: Top 7 Trending Adventure games that you should play once in your life

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The Week in Drag – Meet the queens of UK vs The World, Willam gets naughty, Inti gets exposed and more

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RuPaul’s Drag Race UK Versus The World

Hello, hello, hello! Welcome to another week of news and updates from the ever-expanding Drag Race universe.

In the latest The Week in Drag, we’ve got recaps and reactions of the second episode of RuPaul’s Drag Race from some of your favorite Ru-cappers and some fun from the new batch of queens as they show off some uncanny impersonations of their castmates.

We also find out which queens are taking part in the Drag Race world cup, check in with Jaymes, Willam, Trixie and Katya and check out new music from a pair of fierce musical queens. As always, we’ve got lots o see, so let’s bring it to the runway!

Not enough in your life? Don’t you fear, RuPaul’s Drag Race UK Versus The World is almost here! Ru takes Drag Race UK to the next level as he opens up the battle to Drag Race queens from around the world. The nine international members of Drag Race royal alumni will battle it out for the crown in this brand-new series.

With the UK as host nation, the series will see iconic queens from different franchises and cultures competing in an international arena, showcasing their country’s finest drag in their bid to become the Queen of the Mothertucking World. The queen-testants include Drag Race UK favorites Baga Chipz, Blu Hydrangea and Cheryl Hole, Janey Jacké from Drag Race Holland, Jimbo and Lemon from Canada’s Drag Race, Pangina Heals from Drag Race Thailand and Jujubee and Mo Heart from the good ol’ US of A. The queens will be battling it out, with RuPaul, Michelle Visage, Alan Carr, and Graham Norton on the judges’ panel.

World of Wonder also recently announced the wig-snatching lineup of guest judges including Melanie C, Jade Thirlwall, Clara Amfo, Daisy May Cooper, Jonathan Bailey, and Michelle Keegan along with special guests Johannes Radebe and Katie Price. The new series debuts on February 1st at 4pm ET exclusively on WOW Presents Plus.

Last week, we met the second batch of queens competing on season 14 of Drag Race. Monét X Change and Gottmik recap everything from the entrance looks to the runway fashions on “The Pit Stop.”

With Monét hosting Pit Stop this season, her “Sibling Watchery” co-star Bob the Drag Queen has recruited fan-favorite Heidi N Closet to dissect the second part of the season 14 premiere on “Purse First Impressions.”  

Raja and Gottmik toot and boot the entrance looks and sickening signature drag from last week’s mainstage runway on “Fashion Photo Ruview.”

The always radiant Shuga Cain (who we just don’t see enough of) joins Yuhua Hamasaki to talk all things episode 2 runway on “Bootleg Opinions”.

If you can’t get to a Drag Race viewing party, YouTube delivers. Join Drag Race alums Detox, and Rosé and Naysha Lopez along with Carson Kressley and Batty Davis recorded live at Chicago club Roscoe’s.

This week, the season 14 queens all came face-to-face and got to know more about each other and, when you spend enough time together, you can pick up their idiosyncrasies. Watch as the queens do their best impersonations of each other.

Willam is back with a very NSFW episode of “Beatdown.” If you have an urge to watch people get busy with putt putt golf, pineapples and even Mickey Mouse, this is the video for you.

I did not watch this one, but if you’re into drag queens and pimple popping videos, you should enjoy this video featuring Rock M Sakura and Militia Scunt (say her name out loud…it’s amazing) reacting to these nasty videos.

Trixie Mattel is back testing drug store makeup. This time around recreates her iconic face with Covergirl cosmetics.

Just when you thought your wallet was safe…our favorite makeup maven just launched a new collab with Sugarpill and she and Amy/Shrinkle the founder/CEO of Sugarpill reveal the new, crave-worthy lip glosses.

Season six of “UNHhhh” has wrapped, and, to tide you over until new episodes arrive, Trixie and Katya have gifted us with another round of randomness and hilarious outtakes.

See Also

If you didn’t check out season one of Drag Race España on WOW Presents Plus, you missed out on some amazing queens. One of the season’s standouts, Inti, is the latest queen in Joseph Shepherd’s hot seat for his latest “Exposed” interview.

Violet Chachki and Gottmik are back with a new set for the new year on the latest episode of “No Gorge.”

House hunting, PDA and Mesopotamia…these and many other topics are addressed by Bob and Monét on the latest episode of “Sibling Rivalry.”

In her latest Get Ready with Me video, Jaymes Mansfield gives us an update on her Botox and lots more.

Kimora Blac gives us a beautiful drag transformation in stunning pink and purple hues, just in time for Valentine’s Day.   

BFFs and podcasters Courtney Act and Vanity (of Wigs by Vanity fame) do each other’s makeup.

And that wraps up a busy week in the world of drag. We’ll leave you this week with a new video from Kali Forni-Kate and Sabrina Babyslut, a/k/a the Jawbreakers. Check out the first single from their EP, “Just A Taste.” Enjoy “Boyfriend” and, until we meet again, stay healthy, stay safe and say LOVE!  


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Cringe: On Empathy, Online Culture, and Technohorror

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Cringe: On Empathy, Online Culture, and Technohorror

Un Chien Andalou, the surrealist short film by Salvador Dalí and Luis Buñuel, was originally screened in 1929, to a rarefied audience of Paris’ artistic elite. Buñuel claimed he had stashed stones in his pocket prior to the showing, “to throw at the audience in case of disaster.” No such outrage occurred, despite the film’s provocations. Un Chien Andalou is now available for free on YouTube, for anyone with a smartphone to see. If Buñuel feared for his audience’s volatility then, among a circle of friends and creative peers, one can only imagine his anxiety upon the film’s dissemination online.

“This film is 91 years old and the eye slicing scene still gives me the creeps,” observes one commenter. Near the beginning of the film, a woman’s eye is cut open. Later she flees in terror from a crazed pursuer. A dead horse is pulled over a piano. The images flicker, refusing to relate to each other or to coalesce into narrative. The banal veers into the violent, which in turn lurches without warning into slapstick. Upon viewing, one feels the anxiety that film’s novelty once provoked in audiences almost a hundred years ago: the disorienting cutting-and-pasting of unreconciled images into a hallucinatory moving collage.

It’s an arresting feeling, to glimpse how film technologies we now take for granted once terrified people. Film is an illusory medium, as demonstrated by the apocryphal tale of a stampede of cinema-goers fearing they would be run down by a movie of a train. The sense of reality cinema imparts is a sham, an image of a whole stitched together from disparate pieces of footage. As modern viewers, we fall for the trick, taking in films as if they were real, empathizing with the characters and valuing psychological realism as an aesthetic ideal. Watching Un Chien Andalou reminds us of the deception inherent within film, the sense of a coherent story forged from many unrelated images shot at different times and places. The dominant realist style of modern filmmaking suppresses this feeling of illusion by immersing us in a story. Dalí and Buñuel, however, work to make the fakery obvious, to show their hand.

The short’s defamiliarizing effect becomes even more salient in its YouTube form. There’s something about the arbitrary kaleidoscope of images that makes Un Chien Andalou seem to speak to contemporary online culture. It feels a little like doom-scrolling, the endless reel of violent images that refuse meaning or resolution, the clash of the horrific and the absurd. The alienation of the film’s surrealist aesthetic resembles the layers of irony and removal that characterize digital experience. Most contemporary films haven’t completely reckoned with the impact of social media on our cultural consciousness, but a short from 91 years ago feels like a mirror of the internet age: an odd moment where the past becomes uncannily recognizable. We see our own misgivings about online culture staring back at us from the early days of cinema.

The short’s most memorable scene is the moment where the eye is slit with a razor. It’s a masterful effect, achieved by splicing footage of the actress with the real cutting of a cow’s eye, wonderfully disturbing and convincing. Watching it, you can’t help but cringe: the mutilation of the eye is an act of aggression towards the viewer. Our role as voyeurs is split: on one hand we are complicit with the violence shown on screen, and on the other we identify with its victim. We feel the cut as if it is happening to us.

This sensation of cringing, of recoiling even as you fail to bring yourself to look away, is also characteristic of internet culture. ‘Cringe’ is one of the more peculiar emotions of online life, a term mainly used as a tool of social discipline to ostracize those who do not conform to nuanced and rapidly evolving social codes of the internet. It is also a subset of online comedy: ‘cringe compilations’ assemble clips from across the internet and present them for the amusement of viewers. When we find someone ‘cringe’, we stigmatize them for their oddness, their inability to follow the implicit codes of online culture with seamless ease, and we humiliate them for it. This is a punitive form of comedy. But cringe comedy also relies, paradoxically, upon our investment in the humanity of its object. We cringe because we vicariously experience the visceral feeling of humiliation. The sensation of cringing is predicated upon recognition and identification with another person’s pain.

“Comedy,” Angela Carter once wrote, “is tragedy that happens to other people.” This holds true of cringe comedy. But tragedy, too, is a dramatic form, staged for an audience’s benefit. Tragedy also happens to other people. So does horror. In fact, all of these forms rely on the fraught dynamic that links the watching eye with the body that is the object of spectacle. We respond to violence visited upon another by feeling their pain ourselves and by taking pleasure in the spectacle of it. At the same time that we turn away in revulsion, we cannot help but imagine ourselves in their position. As viewers, we cannot detach ourselves from the humiliations of the victims of horror and comedy, even as we participate in their abuse.

The image of the scalpel raised to the eye is a mainstay of horror for exactly this reason: it forces the viewer to recognize themself as implicated. Audiences are not passive, nor are they detached. Rather, they too are vulnerable to onscreen violence, experiencing both the killer’s sick thrill and the victim’s terror. In Un Chien Andalou, this dynamic is gendered: the eye is a woman’s, and the scalpel is wielded by a man. As avant-garde surrealists, working to pioneer a new artistic vision in a new medium, Dalí and Buñuel characterize the conventional values of the audience’s bourgeois culture as a feminine body, to be assaulted by the visionary male genius.

But contemporary, female-led horror has also fixated on the eye of the audience. Prano Bailey-Bond’s Censor, like Dalí and Buñuel, also taps into the anxiety surrounding the advent of visual technologies. Set in the 80s, at the height of the moral panic surrounding ‘video nasties’ newly made available by video tape distribution, Censor’s heroine Enid is a model of a detached, impassive viewer. A film censor, Enid sees herself as impervious to the workings of horror films: she imagines herself as a line of defense between the depravity of exploitation films and an impressionable public. But she, too, becomes infected by the socialized violence that these films embody. Embarking on a moral crusade against video violence, Enid loses the ability to distinguish between video and reality. In the end, her role as impassive moral arbiter is as tenuous a fiction as the schlocky films she redacts.

One moment that lingers from Censor is Enid’s inscrutable gaze in a darkened room as she calmly watches footage of an eye being gouged. The film juxtaposes two modes of spectatorship: the depraved, which allows itself to be penetrated by deviant images, and the detached, which neutrally assesses what it sees without being contaminated. But, as Enid loses her grip on reality, we realize these are the same thing. The neutral, moral viewer participates in the fiction of the horror film as much as the one who surrenders to spectacle and degeneracy. Enid becomes instrumental in the circulation of violence, the spilling-out of horror from the screen. The moral panic against ‘video nasties’ surrounding visual technology offers itself as a means to resist the violence of technology, its ability to disseminate uncontrolled information and infect impressionable minds.

The horror of film and video anticipates our contemporary fear of social media: its remolding of human relationships, the exponential spread of dubious information and violent ideologies, the inability of the human mind to make sense of such an onslaught of images, our vulnerability and powerlessness. The brave new world of the internet age is characterized by the same fears that defined the advent of cinema. Horror films have a tradition of exploiting anxieties about their own medium, playing off our fear that something might reach out of the screen and hurt us. The most iconic example is 1998’s Ringu. The haunted videotape at the centre of the film is an icon of our vulnerability as viewers, our fear that a disturbing image might change us irreparably, that it might destroy us. The film ends with the monstrous Sadako climbing out of our own screen, culminating in a close-up of her bloodshot eye. The final image is a provocation to the viewer, the watchful eye: that we, as an audience, construct the horror by being afraid of seeing it. It is our terror that brings the nightmare out of the containment of the screen.

Technophobia, like that of Censor’s Enid, promises to protect us from technology by letting us stand outside it: to look dispassionately at the screen and critique it. But technophobia cannot avoid participating in the fiction of the screen by buying into the reality of the image, its ability to penetrate us. We become the audience of the Lumière brothers, diving to avoid a fictitious train. Horror plays off this fear by making us feel the scalpel in the eye, the ghost watching from the screen — making us cringe, as though the image of violence were being enacted upon our own bodies. We cannot avoid being implicated in the culture that image technology creates.

So what does this mean for us today, in the age of social media? The distinction between spectacle and audience is more permeable than ever before: any one of us could be photographed and put online, without our consent, at a stranger’s whim. Calls to log off and quit social media cannot change the fact that the internet has reshaped our cultural landscape. The ubiquity of the smartphone means that we are always accessible, always able to be recorded and documented. Online-ness isn’t something one can opt out of on an individual level: it has saturated our culture, our political sphere. The distinction between technologically mediated and unmediated interaction is fuzzy. There isn’t really any such thing as offline anymore.

The work of the horror film – to make us wonder if a scary image could actually harm us – is done by social media. As such, we can draw a parallel between the cringe induced by body horror, and online cringe comedy. Both operate within nuanced and fraught modes of connectivity. We cringe at images of violation, of humiliation, and thereby participate in violence, but we also recognize that we too are vulnerable – that the next victim could be us. 

Horror viewers and the extremely online are alike in that they seek out the sensation of cringing. It’s repulsive, but it’s pleasurable. Cringe culture might be reactionary in its turning away from the image of the victim, but it is predicated upon recognition of the victim’s humanity, their reality. Ethically fraught as it is, the horror and comedy of cringe rests upon a visceral feeling of empathy. Techno-horror shows us that the neuroses peculiar to the age of online have in fact been acted out before in response to the moving image. The terrors of social media are not new but uncannily familiar – the problem of how to see another person through a screen continues.

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Ian Alexander Jr, Regina King’s son, dies at 26 by suicide

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Bob Saget
https://www.instagram.com/p/CYCmJC6Pefb/https://www.instagram.com/p/CH4_8wAB_xx/https://www.instagram.com/p/CKEvy4-hhfb/

Ian Alexander Jr., the only child of actress-director Regina King, died Friday (Jan. 21, 2022) at age 26, the actress said in a statement provided.

No cause of death has been made public, but according to People, he died by suicide.

“Our family is devastated at the deepest level by the loss of Ian, He is such a bright light who cared so deeply about the happiness of others. Our family asks for respectful consideration during this private time. Thank you,” King said in a statement.

Alexander was known publicly as a DJ and singer-songwriter under the name Desduné. He most recently released the single “Green Eyes,” and the single “Work It Out” in April 2021.

Last week, King promoted her son’s track “Green Eyes” to her followers on Instagram, posting a short clip and linking to the song in her bio. He was also a celebrity chef who told Flaunt Magazine in May 2021 that he hoped to develop his private dinner parties into a restaurant.

He had a close relationship with King, writing on her 50th birthday last fall: “To have you as my mother is the greatest gift I could ask for. To be all that you are while always having the time to be there, love and support me unconditionally is truly remarkable.”

King was married to Ian Alexander Jr.’s father, music producer Ian Alexander, from 1997 to 2007. He was their only child.

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Socialite Life sends our deepest condolences to Regina King and all of Ian Alexander Jr family and friends.

The National Suicide Prevention Lifeline 1-800-273-TALK (8255) is a free, 24/7 confidential service that can provide people in suicidal crisis or emotional distress, or those around them, with support, information and local resources.


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