Archive for the ‘arcade games’ Category
July 3rd, 2011 | 
Author: Arcade Fire and Arctic Monkeys lead the way for this year’s Mojo Honours List awards.
Both bands are nominated for best ‘MOJO Best Album’, with Arcade Fire also nominated for ‘Best Live Act’.
MOJO’s editor-in-chief Phil Alexander said: ”It’s been a tremendous year for emerging talent and this category confirms that. The MOJO Breakthrough category has a great pedigree when it comes to previous winners with the likes of Corinne Bailey Rae, Seasick Steve and The Low Anthem picking up this award.
“It’s no exaggeration to say that all five nominees would be worthy recipients. At MOJO, we love them all.”
Rumer, Miles Kane, Josh T Pearson, Villagers and The Vaccines have been nominated in the ‘MOJO Breakthrough Act’ category.
The ceremony will take place in Central London on July 21.
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Update: Limbo has been confirmed for release on the PlayStation Network. It’ll be out sometime in July, with more details to come next week.
Original Story: A rating for Limbo popped up on the Korean rating board’s website earlier today, having been requested by Sony Computer Entertainment Korea. That would suggest the game is likely headed to the PlayStation 3 at some point in the relatively near future.
The Playdead-developed game first came out on Xbox 360 last July as a part of Microsoft’s Summer of Arcade promotion. Prior to that, an ESRB rating for PC and PS3 versions of the game was found, contradicting previous announcements that it would be an XBLA exclusive. Playdead later said it was a mistake and that no PS3 or PC versions would be coming; that’s likely because the game was published by Microsoft. Perhaps now that almost a year has passed by, the developer is free to move it to other platforms — hopefully a PC version will be coming alongside the PS3 one.
Limbo stood out because of its unique black-and-white art style and characters who are presented as silhouettes. It’s a 2D platform/puzzle game that ended up doing very well — it was the best-selling Summer of Arcade game “by a long stretch,” and judging by their first week of availability only, it was the second best-selling XBLA game of 2010.
Fans of Limbo can look forward to Playdead’s new game, which is said to be a new IP and “if you liked Limbo, it’ll definitely be for you.”
Source: GameSetWatch
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enlargeRating:
4.5 out of 5
Game Rant’s William Case reviews Super Street Fighter IV Arcade Edition
Let’s be clear at the very beginning: unless you’re a competitive Street Fighter IV player or have yet to pick up one of the installments in the high-quality fighter, then the content the additional Super Street Fighter IV Arcade Edition probably isn’t something that you need to immediately seek out.
That said, adding an additional four characters (and bringing the final roster to a overwhelming 39), along with fixing balance issues and tweaks, the downloadable Super Street Fighter IV Arcade Edition is a fantastic addition for the keen eye and sharp finger. The add-on is the cherry on top of an already perfect sundae.
Looking primarily at the new characters, and what they bring to the roster, the biggest change would arguably have to be Evil Ryu. A blend of Ryu and Akuma bathed in dark flames and angst, he’s a fearsome blend of shoryukens and teleportation. Unable to throw Akuma’s air fireballs, Evil Ryu instead comes with a lunging axe kick, which can travel nearly half the screen when boosted with an EX. A fairly imposing fighter, especially when using his dive-kick or Ultra fireball, he will be a big favorite during online matches, and will likely replace many of the Ryu players.
Returning from their stint in Street Fighter III, Yun and Yang get an HD upgrade, though not to the full extent that they could have. Yun easily has the best screen movement, with a flurry of swift punches and spinning shoulder charges (which will also help avoid missles in a pinch). Yang is just as speedy, bolstering an invulnerable dash and a forward roll that transition into a rising kick. Both character’s attacks seem slightly underpowered, yet don’t let that fool you: their ability to string together combos will make them as fearsome opponents – as any top-tier character (as long as someone knows how to tap into it).
Though the character that stole the show is Oni, who enters the stage looking like a beefed up Dragonball Z character (hair and all). Oni really has the whole package; a spinning hurricane kick that rivals Ken’s, two types of fireballs that will either hit multiple times or charge up for distance, and that’s not even scratching the surface. In the air, Oni is almost untouchable as he is deadly. Sporting a ground smash special that stuns his opponent, his ability to dash midair, and use the Raging Demon mid-air (though hitting only opponents in air), Oni is versatile.
In fact, when it’s all broken down on paper Oni may be the most original of the character sets to come out of the additional Super Street Fighter IV Arcade content. That’s not exactly a bad thing, but it will potentially cause an issue when playing online or with friends, where Oni’s will pop up like weeds everywhere – until further balancing has gone through.
And that will need to happen. While the addition did a great job at refining the hit boxes and lag times between the already established characters, the new additions will still need some work to be done down the line. It’s nothing new, and of course competitors will make sure Evil Ryu and Yun go through their paces, but it may cause some initial problems.
Updated online section is another nice change in the addition – specifically the Replay Channel and filtering. Now, players will be able to check out the battles of top-ranked fighters, while also adding them to your channel. The function is streamlined and thus far, actually effective. Plus, Capcom realized that not everyone would have the Arcade addition, so filtering has been enabled, giving you the option to look for players with, without, or combined for an even mixing.
Unless you’re a player that is in it for the latest in Street Fighter action, that pays attention to the minute stat changes, or plays in weekend tournaments, you can hold-off on the Arcade Edition. Capcom did announce that they would be releasing the game in stores as well, giving you plenty of time to wait it out. Yet if you feel compelled to purchase, it’s worth every penny for the hardcore fighter.
Super Street Fighter Arcade Edition is currently available for the Xbox 360, PS3, and PC later this year
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Earlier this year, Arcade Fire won Best Album at the Grammys. That album, The Suburbs, was a number one hit on the Billboard charts, with the band playing major venues like Madison Square Garden and headlining summer festivals alongside Lady Gaga and Soundgarden. Still, their acceptance into a larger mainstream ruffled many feathers, people perturbed at an “unknown” band winning such an important prize. The reactions, cataloged on a Tumblr, Who is Arcade Fire?, show a general populace angry and annoyed at the underground coup, unwilling to relinquish a prize whose main purpose, stated or otherwise, is mostly to confirm major stardom. With bands like The National, Vampire Weekend and Arcade Fire all having chart success, the emergence of a strong independent force in music sales is unquestionable. But in terms of popularity, unquestionably, there is a divide and a bias. Maybe that’s fair—Arcade Fire certainly lack the decadence of Lady Gaga or the entertaining gossip life of Kanye West—but clearly the walls of the split are crumbling.
In the UK, one of the major music prizes is the Mercury Prize, awarded to one single album out of a large pool of nominees. The most recent winner was The XX, another independent group, for the debut record. But this surprised no one, as that record was a strong force in British music, young kids hitting a synthesis of rock and dance that England feeds on. Across the Atlantic, Fucked Up were the big winners of Canada’s analogous Polaris Prize in 2009. A punk rock band from Toronto, they certainly live far from the mainstream in terms of both sales and visibility. But was their win really a confirmation of their musical superiority? After all, their singer, Pink Eyes, is an enormous man who is always shirtless at shows, who always beats himself in the forehead with a microphone until he bleeds. He’s had a stint as a talking head on Fox News. He is, quite literally, an outsize personality, and, unknown or otherwise, the public loves a spectacle.
This year, Arcade Fire are nominated for the prize and surely are favorites to win. Neil Young is the prize’s other big name, with some mid-size acts like Destroyer and Stars mixed in. This being the long list, there are a few long shot groups like Braids and Young Galaxy, bands loved by blogs and sometimes critics who slog through SXSW, log their vans with many miles. Curiously, though, Toronto’s The Weeknd is also nominated, for his mixtape, House of Balloons. Undoubtedly on his way to a greater popularity, the RB singer’s mixtape is a great, adventurous, if not somewhat uneven release, with many meandering moments and some great ones too buried. Which is exactly what a first release should be. The mixtape was released online only, nonchalantly uploaded to file sharing services with no press push and a dearth of information. All of the attention stirred has been based solely on promise out of the gate. The Weeknd may plausibly some day reign as mainstream king, but that enormity is still many moons away, the way he clearly wants it. So why nominate House of Balloons? Surely it’s received more love than, say, fellow nominee Doug Paisley’s gorgeous folk album, but that’s a complete thought, presented as such. House of Balloons is only an inkling. So what does it mean that it was nominated for a nation’s prize? Has the mainstream dipped so far below the surface that there is no distinction? Or are the decision makers simply doing better, dirtier work? Or worse—should they continue to anoint already chosen kings and let the business of the underground continue unmolested? As frustrated fans bemoaning the unknown Arcade Fire’s Grammy win know, the given of rewarding stardom is clearly eroding. And, conjointly, so is stardom itself.