An Afghan girl carries water on her back as she climbs a hill in Kabul, Afghanistan February 20, 2017. A growing population is straining water supplies in Afghanistan's capital, forcing those who can afford it to dig unregulated wells ever deeper to tap a falling water table. Finding water in arid Afghanistan is virtually always a challenge, but a drop in the groundwater level in Kabul caused by overuse and drought is making it even more difficult for residents, especially the poor. (Photo by Omar Sobhani/Reuters)

Assassin’s Creed is a game that is set in the past with the main character’s subconsciousness traveling through the fabric of time to acquire hidden knowledge. The level designers of Assassin’s Creed Unity have meticulously recreated the streets of 1789 Paris to allow the users to become completely engulfed by the atmosphere of this proud and ancient city. Each year, games are becoming more and more realistic, and soon the line between movie footage and computer generated world will completely blur. This is both scary and exciting prospect, yet there is no doubt that someday, virtual world will be indistinguishable from the real one. To illustrate this, Damien Hypolite has taken a series of photos which compare scenes from Assassin’s Creed to the real placed in modern Paris. (Photo by Damien)

“Like most Brits, Emmie Stevens is dog mad. But the 25-year-old has taken it to the next level, spending £30,000 on her nine pets. Emmie’s dogs enjoy regular manicures and fur dyes and have their own walk in wardrobe to store their £15,000 clothing collection”. – Daily Record. Photo: Bailey the Staffordshire bull terrier, holding a red rose. (Photo by Helen Yates/Barcroft Media)

The Mano de Desierto is a large-scale sculpture of a hand located in the Atacama Desert in Chile, 75 km to the south of the city of Antofagasta, on the Panamerican Highway. The nearest point of reference is the “Ciudad Empresarial La Negra” (La Negra Business City). The sculpture was constructed by the Chilean sculptor Mario Irarrázabal at an altitude of 1,100 meters above sea level. Irarrázabal used the human figure to express emotions like injustice, loneliness, sorrow and torture. Its exaggerated size is said to emphasize human vulnerability and helplessness. The work has a base of iron and cement, and stands 11 metres (36 ft) tall. Funded by Corporación Pro Antofagasta, a local booster organization, the sculpture was inaugurated on March 28, 1992.