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viernes, enero 17, 2020

ANSES: Jubilados y beneficiarios de la AUH cobrarán un beneficio adicional de $5.000 y $2.000

Se robaron 2 PBI y fue Maximo Kirchner.

El presidente Alberto Fernández anunció este lunes que los jubilados que cobran la mínima recibirán un adicional de $5.000 en diciembre y otro de una cifra similar en el mes de enero. También anticipó que los beneficiarios de la AUH recibirán una suma extra de $2.000 pesos en diciembre.

Estamos lanzando a partir del martes lo que llamamos el Plan Alimentar, el plan contra el hambre. Es un plan que a toda mujer que tiene un embarazo de tres meses o tiene hijos de hasta seis años, vamos a darle cuatro mil pesos mensuales si tiene un hijo y 6 mil si tiene dos hijos o más”, sostuvo Alberto Fernández durante una entrevista con Telefé.

Y precisó que empezará “por Concordia, Entre Ríos, que es la ciudad que más pobreza tiene. Ahí son 6500 tarjetas. Esa ciudad a partir de ese momento va a movilizar 35 millones de pesos en consumos de alimentos nuevos. Es una gran movilización para una economía como Concordia y se va a ir extendiendo por todo el país”.

El Presidente también anunció que hasta el 30 de junio las tarifas de los servicios permanecerán congeladas.

Las tarifas no se van a aumentar y vamos a terminar con la dolarización. Están suspendidas en su aumento porque el gobierno de Macri suspendió aumentos que había que disponer para después de las elecciones. Se fue sin aplicar esos aumentos y nosotros no los vamos a aplicar. Hasta el 30 de junio nos vamos a dar tiempo para redeterminar el sentido de las tarifas. A nuestro juicio deben servir al modelo productivo. Este sistema le sirve a los que producen energía pero no a los otros, no al resto de la Argentina. No tengo interés en discutir lo que han ganado las empresas, ahora necesito que ayuden”, explicó Fernández.

El jefe de Estado se refirió a la situación de las pymes. “Están en una situación muy crítica. Uno de los mayores problemas que tienen es que se han endeudado con el Estado. Han dejado de pagar impuestos y aportes. Proponemos una muy amplia moratoria para regularizar su situación. Tiene intereses muy bajos y les otorga seis meses de gracia, tienen seis meses para empezar a pagar”, sostuvo. Play

Con respecto a las retenciones, señaló: “Las retenciones que hoy existen son las que dejó el gobierno anterior. Lo único que hicimos fue actualizar por el efecto devaluatorio que vivió la economía argentina. Pero hoy las que se pagan son las que estaban dispuestas. Esto es necesario aclararlo. Nosotros no estamos aumentando las retenciones. Estamos proponiendo que se nos dé la facultad de aumentar tres puntos más. Pero yo hice un compromiso en campaña que era que vamos a tomar las decisiones en conjunto. no las voy a imponer”.

Y agregó: “Aspiro a que los primeros días de enero podamos constituir la mesa del contrato social donde podemos discutir todo. La gente del campo es muy importante y espero que puedan estar en esa mesa. Lo que tienen que entender es que el sentido es tratar de poner en orden el enorme desorden que hay en la economía argentina”. Play

El mandatario no esquivó hablar del impuesto del 30% para las compras en el exterior: “Hay que entender lo que ha pasado en la Argentina. Hoy se pueden comprar 100 dólares por mes porque lo dispuso Macri. Así quedaron las arcas del Banco Central. No quiero que se tome como provocación, solo quiero contar lo que nos pasa. Argentina se quedó sin dólares. Entran si producimos y exportamos. Si además los pocos que tenemos se nos van en paseo de los argentinos estamos en un problema enorme porque los necesitamos para comprar insumos y producir”.

Todo esto estará dentro del proyecto de ley nominado Solidaridad Social y Reactivación Productiva en la Emergencia Económica que ingresará mañana a la Cámara de Diputados, será tratado en comisión el miércoles y debatido en el recinto el jueves.

Forza Horizon 4

Kratos has changed. Not just his beard; he’s older, more haggard and weary. He’s a man who has seen too much.

As far as allegories for the franchise go, Kratos is a good one. After seven entries of thoughtlessly smashing and killing just about everyone in the Greek pantheon, he and his games came dangerously close to sinking into the oblivion of franchise fatigue. No wonder he’s tired.

The newest God of War, brought to us by Cory Barlog, and the same Santa Monica Studios that brought us the original, elevates everything about the franchise. It takes what worked, what was iconic and meaningful amidst the juvenile testosterone power fantasy, and examines it in the light of a new setting, with a new emphasis on telling a compelling story.

Part of why the narrative is so remarkably convincing is the excellent capture and voice performances by Christopher Judge as Kratos and Sunny Suljic as his young son. Their chemistry absolutely sells the epic story, and manages to effortlessly overcome the occasionally melodramatic dialogue. God of War is a very well written game, with a fascinating and original take on the Norse pantheon, but all of that would be wasted if the acting wasn’t up to par. Other games would do well to learn from this emphasis on quality performances.

Kratos is still Kratos, still sullen and tortured, but now that he and the world around him are getting the attention they deserve, he’s also so much more.

The combat system is less combo heavy than its predecessors, and the new over the shoulder perspective lends itself to a more tactful and methodical approach to the plentiful hostile encounters. Being able to switch between two weapons and hand-to-hand adds a huge variety of options to combat. Kratos’ Leviathan axe is a particular standout; I never grew tired of decapitating Draugr by hurling it across the room, only to hit triangle and have it fly back into Kratos’ hand like the deadliest boomerang in all the realms.

The franchise has always been ridiculous, and even the earliest entries have always been fun, if simplistic fun. It knew what it was; a gleeful celebration of excessive masculinity and violence, and though there’s nothing inherently wrong with that, the new God of War is better in just about every regard. It still has violence aplenty, still provides the satisfaction of cinematic victory and breathtaking set pieces, but also provides a meaningful story, highly polished gameplay, and an incredibly detailed and beautiful world to explore.

La CTA aprobó su reincorporación a la CGT

“Por unanimidad, la CTA se encamina hacia la unidad de la clase trabajadora con la CGT”, sintetizó el titular de la CTA de los Argentinos, Hugo Yasky, tras la votación del plenario general de la organización en el estadio de Lanús, donde se puso fin a lo que calificó como “un paréntesis de tres décadas”. “¡Y ya lo ve! ¡y ya lo ve! ¡hay una sola CGT!” fue el canto de los delegados.

La votación se produjo frente al candidato presidencial del Frente de  Todos, Alberto Fernández, quien recibió otras dos votaciones de impacto inmediato para sus aspiraciones: el respaldo a la fórmula Fernández-Fernández y “el mandato para participar del diálogo de la concertación social”, en un eventual gobierno del Frente de Todos a partir de diciembre. 

Yasky destacó los cuatro años de movilización popular en las calles durante la gestión Cambiemos y mencionó a los dirigentes gremiales que lo acompañaron, entre ellos, Pablo Michelli, Hugo Moyano, Sergio Palazzo y Omar Plaini, “con quien alguna vez soñamos que la unidad era posible”, destacó.

Con esos dirigentes a sus espaldas, sentados al lado de Fernández y Máximo Kirchner, a las candidatas a vicejefas bonaerense y porteñas, Verónica Magario y Gisela Marziotta, Yasky advirtió que “hace falta unidad para poder ganar la elección que viene, pero hace falta mucha más unidad para poder gobernar un país que va a quedar destruido, endeudado, empobrecido y con desempleo”.

El titular de la CTA analizó que, lo que permitió que “el pueblo argentino tenga una nueva oportunidad”, fue no solo la presencia de los movimientos sociales y gremiales en las calles durante los años de macrismo —no estuvieron presentes los gremios de la CGT que se mostraron cercanos a la Casa Rosada durante los primeros años de Cambiemos— sino también “la capacidad de construir unidad cuando fue intervenido el Partido Justicialista”.

Trials Fusion

Kratos has changed. Not just his beard; he’s older, more haggard and weary. He’s a man who has seen too much.

As far as allegories for the franchise go, Kratos is a good one. After seven entries of thoughtlessly smashing and killing just about everyone in the Greek pantheon, he and his games came dangerously close to sinking into the oblivion of franchise fatigue. No wonder he’s tired.

The newest God of War, brought to us by Cory Barlog, and the same Santa Monica Studios that brought us the original, elevates everything about the franchise. It takes what worked, what was iconic and meaningful amidst the juvenile testosterone power fantasy, and examines it in the light of a new setting, with a new emphasis on telling a compelling story.

Part of why the narrative is so remarkably convincing is the excellent capture and voice performances by Christopher Judge as Kratos and Sunny Suljic as his young son. Their chemistry absolutely sells the epic story, and manages to effortlessly overcome the occasionally melodramatic dialogue. God of War is a very well written game, with a fascinating and original take on the Norse pantheon, but all of that would be wasted if the acting wasn’t up to par. Other games would do well to learn from this emphasis on quality performances.

Kratos is still Kratos, still sullen and tortured, but now that he and the world around him are getting the attention they deserve, he’s also so much more.

The combat system is less combo heavy than its predecessors, and the new over the shoulder perspective lends itself to a more tactful and methodical approach to the plentiful hostile encounters. Being able to switch between two weapons and hand-to-hand adds a huge variety of options to combat. Kratos’ Leviathan axe is a particular standout; I never grew tired of decapitating Draugr by hurling it across the room, only to hit triangle and have it fly back into Kratos’ hand like the deadliest boomerang in all the realms.

The franchise has always been ridiculous, and even the earliest entries have always been fun, if simplistic fun. It knew what it was; a gleeful celebration of excessive masculinity and violence, and though there’s nothing inherently wrong with that, the new God of War is better in just about every regard. It still has violence aplenty, still provides the satisfaction of cinematic victory and breathtaking set pieces, but also provides a meaningful story, highly polished gameplay, and an incredibly detailed and beautiful world to explore.

NBA Live 19

Kratos has changed. Not just his beard; he’s older, more haggard and weary. He’s a man who has seen too much.

As far as allegories for the franchise go, Kratos is a good one. After seven entries of thoughtlessly smashing and killing just about everyone in the Greek pantheon, he and his games came dangerously close to sinking into the oblivion of franchise fatigue. No wonder he’s tired.

The newest God of War, brought to us by Cory Barlog, and the same Santa Monica Studios that brought us the original, elevates everything about the franchise. It takes what worked, what was iconic and meaningful amidst the juvenile testosterone power fantasy, and examines it in the light of a new setting, with a new emphasis on telling a compelling story.

Part of why the narrative is so remarkably convincing is the excellent capture and voice performances by Christopher Judge as Kratos and Sunny Suljic as his young son. Their chemistry absolutely sells the epic story, and manages to effortlessly overcome the occasionally melodramatic dialogue. God of War is a very well written game, with a fascinating and original take on the Norse pantheon, but all of that would be wasted if the acting wasn’t up to par. Other games would do well to learn from this emphasis on quality performances.

Kratos is still Kratos, still sullen and tortured, but now that he and the world around him are getting the attention they deserve, he’s also so much more.

The combat system is less combo heavy than its predecessors, and the new over the shoulder perspective lends itself to a more tactful and methodical approach to the plentiful hostile encounters. Being able to switch between two weapons and hand-to-hand adds a huge variety of options to combat. Kratos’ Leviathan axe is a particular standout; I never grew tired of decapitating Draugr by hurling it across the room, only to hit triangle and have it fly back into Kratos’ hand like the deadliest boomerang in all the realms.

The franchise has always been ridiculous, and even the earliest entries have always been fun, if simplistic fun. It knew what it was; a gleeful celebration of excessive masculinity and violence, and though there’s nothing inherently wrong with that, the new God of War is better in just about every regard. It still has violence aplenty, still provides the satisfaction of cinematic victory and breathtaking set pieces, but also provides a meaningful story, highly polished gameplay, and an incredibly detailed and beautiful world to explore.

Medieval Steve

Kratos has changed. Not just his beard; he’s older, more haggard and weary. He’s a man who has seen too much.

As far as allegories for the franchise go, Kratos is a good one. After seven entries of thoughtlessly smashing and killing just about everyone in the Greek pantheon, he and his games came dangerously close to sinking into the oblivion of franchise fatigue. No wonder he’s tired.

The newest God of War, brought to us by Cory Barlog, and the same Santa Monica Studios that brought us the original, elevates everything about the franchise. It takes what worked, what was iconic and meaningful amidst the juvenile testosterone power fantasy, and examines it in the light of a new setting, with a new emphasis on telling a compelling story.

Part of why the narrative is so remarkably convincing is the excellent capture and voice performances by Christopher Judge as Kratos and Sunny Suljic as his young son. Their chemistry absolutely sells the epic story, and manages to effortlessly overcome the occasionally melodramatic dialogue. God of War is a very well written game, with a fascinating and original take on the Norse pantheon, but all of that would be wasted if the acting wasn’t up to par. Other games would do well to learn from this emphasis on quality performances.

Kratos is still Kratos, still sullen and tortured, but now that he and the world around him are getting the attention they deserve, he’s also so much more.

The combat system is less combo heavy than its predecessors, and the new over the shoulder perspective lends itself to a more tactful and methodical approach to the plentiful hostile encounters. Being able to switch between two weapons and hand-to-hand adds a huge variety of options to combat. Kratos’ Leviathan axe is a particular standout; I never grew tired of decapitating Draugr by hurling it across the room, only to hit triangle and have it fly back into Kratos’ hand like the deadliest boomerang in all the realms.

The franchise has always been ridiculous, and even the earliest entries have always been fun, if simplistic fun. It knew what it was; a gleeful celebration of excessive masculinity and violence, and though there’s nothing inherently wrong with that, the new God of War is better in just about every regard. It still has violence aplenty, still provides the satisfaction of cinematic victory and breathtaking set pieces, but also provides a meaningful story, highly polished gameplay, and an incredibly detailed and beautiful world to explore.

GT Sport

Kratos has changed. Not just his beard; he’s older, more haggard and weary. He’s a man who has seen too much.

As far as allegories for the franchise go, Kratos is a good one. After seven entries of thoughtlessly smashing and killing just about everyone in the Greek pantheon, he and his games came dangerously close to sinking into the oblivion of franchise fatigue. No wonder he’s tired.

The newest God of War, brought to us by Cory Barlog, and the same Santa Monica Studios that brought us the original, elevates everything about the franchise. It takes what worked, what was iconic and meaningful amidst the juvenile testosterone power fantasy, and examines it in the light of a new setting, with a new emphasis on telling a compelling story.

Part of why the narrative is so remarkably convincing is the excellent capture and voice performances by Christopher Judge as Kratos and Sunny Suljic as his young son. Their chemistry absolutely sells the epic story, and manages to effortlessly overcome the occasionally melodramatic dialogue. God of War is a very well written game, with a fascinating and original take on the Norse pantheon, but all of that would be wasted if the acting wasn’t up to par. Other games would do well to learn from this emphasis on quality performances.

Kratos is still Kratos, still sullen and tortured, but now that he and the world around him are getting the attention they deserve, he’s also so much more.

The combat system is less combo heavy than its predecessors, and the new over the shoulder perspective lends itself to a more tactful and methodical approach to the plentiful hostile encounters. Being able to switch between two weapons and hand-to-hand adds a huge variety of options to combat. Kratos’ Leviathan axe is a particular standout; I never grew tired of decapitating Draugr by hurling it across the room, only to hit triangle and have it fly back into Kratos’ hand like the deadliest boomerang in all the realms.

The franchise has always been ridiculous, and even the earliest entries have always been fun, if simplistic fun. It knew what it was; a gleeful celebration of excessive masculinity and violence, and though there’s nothing inherently wrong with that, the new God of War is better in just about every regard. It still has violence aplenty, still provides the satisfaction of cinematic victory and breathtaking set pieces, but also provides a meaningful story, highly polished gameplay, and an incredibly detailed and beautiful world to explore.

Wolfenstein II

Kratos has changed. Not just his beard; he’s older, more haggard and weary. He’s a man who has seen too much.

As far as allegories for the franchise go, Kratos is a good one. After seven entries of thoughtlessly smashing and killing just about everyone in the Greek pantheon, he and his games came dangerously close to sinking into the oblivion of franchise fatigue. No wonder he’s tired.

The newest God of War, brought to us by Cory Barlog, and the same Santa Monica Studios that brought us the original, elevates everything about the franchise. It takes what worked, what was iconic and meaningful amidst the juvenile testosterone power fantasy, and examines it in the light of a new setting, with a new emphasis on telling a compelling story.

Part of why the narrative is so remarkably convincing is the excellent capture and voice performances by Christopher Judge as Kratos and Sunny Suljic as his young son. Their chemistry absolutely sells the epic story, and manages to effortlessly overcome the occasionally melodramatic dialogue. God of War is a very well written game, with a fascinating and original take on the Norse pantheon, but all of that would be wasted if the acting wasn’t up to par. Other games would do well to learn from this emphasis on quality performances.

Kratos is still Kratos, still sullen and tortured, but now that he and the world around him are getting the attention they deserve, he’s also so much more.

The combat system is less combo heavy than its predecessors, and the new over the shoulder perspective lends itself to a more tactful and methodical approach to the plentiful hostile encounters. Being able to switch between two weapons and hand-to-hand adds a huge variety of options to combat. Kratos’ Leviathan axe is a particular standout; I never grew tired of decapitating Draugr by hurling it across the room, only to hit triangle and have it fly back into Kratos’ hand like the deadliest boomerang in all the realms.

The franchise has always been ridiculous, and even the earliest entries have always been fun, if simplistic fun. It knew what it was; a gleeful celebration of excessive masculinity and violence, and though there’s nothing inherently wrong with that, the new God of War is better in just about every regard. It still has violence aplenty, still provides the satisfaction of cinematic victory and breathtaking set pieces, but also provides a meaningful story, highly polished gameplay, and an incredibly detailed and beautiful world to explore.

Lamplight City

Kratos has changed. Not just his beard; he’s older, more haggard and weary. He’s a man who has seen too much.

As far as allegories for the franchise go, Kratos is a good one. After seven entries of thoughtlessly smashing and killing just about everyone in the Greek pantheon, he and his games came dangerously close to sinking into the oblivion of franchise fatigue. No wonder he’s tired.

The newest God of War, brought to us by Cory Barlog, and the same Santa Monica Studios that brought us the original, elevates everything about the franchise. It takes what worked, what was iconic and meaningful amidst the juvenile testosterone power fantasy, and examines it in the light of a new setting, with a new emphasis on telling a compelling story.

Part of why the narrative is so remarkably convincing is the excellent capture and voice performances by Christopher Judge as Kratos and Sunny Suljic as his young son. Their chemistry absolutely sells the epic story, and manages to effortlessly overcome the occasionally melodramatic dialogue. God of War is a very well written game, with a fascinating and original take on the Norse pantheon, but all of that would be wasted if the acting wasn’t up to par. Other games would do well to learn from this emphasis on quality performances.

Kratos is still Kratos, still sullen and tortured, but now that he and the world around him are getting the attention they deserve, he’s also so much more.

The combat system is less combo heavy than its predecessors, and the new over the shoulder perspective lends itself to a more tactful and methodical approach to the plentiful hostile encounters. Being able to switch between two weapons and hand-to-hand adds a huge variety of options to combat. Kratos’ Leviathan axe is a particular standout; I never grew tired of decapitating Draugr by hurling it across the room, only to hit triangle and have it fly back into Kratos’ hand like the deadliest boomerang in all the realms.

The franchise has always been ridiculous, and even the earliest entries have always been fun, if simplistic fun. It knew what it was; a gleeful celebration of excessive masculinity and violence, and though there’s nothing inherently wrong with that, the new God of War is better in just about every regard. It still has violence aplenty, still provides the satisfaction of cinematic victory and breathtaking set pieces, but also provides a meaningful story, highly polished gameplay, and an incredibly detailed and beautiful world to explore.

Soul Calibur VI

Kratos has changed. Not just his beard; he’s older, more haggard and weary. He’s a man who has seen too much.

As far as allegories for the franchise go, Kratos is a good one. After seven entries of thoughtlessly smashing and killing just about everyone in the Greek pantheon, he and his games came dangerously close to sinking into the oblivion of franchise fatigue. No wonder he’s tired.

The newest God of War, brought to us by Cory Barlog, and the same Santa Monica Studios that brought us the original, elevates everything about the franchise. It takes what worked, what was iconic and meaningful amidst the juvenile testosterone power fantasy, and examines it in the light of a new setting, with a new emphasis on telling a compelling story.

Part of why the narrative is so remarkably convincing is the excellent capture and voice performances by Christopher Judge as Kratos and Sunny Suljic as his young son. Their chemistry absolutely sells the epic story, and manages to effortlessly overcome the occasionally melodramatic dialogue. God of War is a very well written game, with a fascinating and original take on the Norse pantheon, but all of that would be wasted if the acting wasn’t up to par. Other games would do well to learn from this emphasis on quality performances.

Kratos is still Kratos, still sullen and tortured, but now that he and the world around him are getting the attention they deserve, he’s also so much more.

The combat system is less combo heavy than its predecessors, and the new over the shoulder perspective lends itself to a more tactful and methodical approach to the plentiful hostile encounters. Being able to switch between two weapons and hand-to-hand adds a huge variety of options to combat. Kratos’ Leviathan axe is a particular standout; I never grew tired of decapitating Draugr by hurling it across the room, only to hit triangle and have it fly back into Kratos’ hand like the deadliest boomerang in all the realms.

The franchise has always been ridiculous, and even the earliest entries have always been fun, if simplistic fun. It knew what it was; a gleeful celebration of excessive masculinity and violence, and though there’s nothing inherently wrong with that, the new God of War is better in just about every regard. It still has violence aplenty, still provides the satisfaction of cinematic victory and breathtaking set pieces, but also provides a meaningful story, highly polished gameplay, and an incredibly detailed and beautiful world to explore.

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