Viral Video Chart: Chatroulette wrecks Miley and it’s move over Kanye West

Powered by Guardian.co.ukThis article titled “Viral Video Chart: Chatroulette wrecks Miley and it’s move over Kanye West” was written by Janette Owen, for theguardian.com on Friday 29th November 2013 07.23 UTC

We’ve got a whole new spin on the Miley Cyrus hit Wrecking Ball from the online chat website Chatroulette this week – and if music video spoofs top your charts, you are also going to like James Franco and Seth Rogen’s version of Bound 2.

The pair were filming their new movie, The Interview, when they decided to take some time out to remake their favourite video from Kanye West as Bound 3. Keep your eyes open for Seth’s impression of the topless Kim Kardashian.

Spoiler alert! If you are a Family Guy fan – don’t read this paragraph and stay away from clip 3! Fans have been stunned by the death of Brian Griffin, the talking dog who was voiced by series creator Seth McFarlane. Brian was killed off after being hit by a car in an episode called Life of Brian. He has been a major character since the pilot show in 1999 and outraged fans have taken to the internet to voice how unhappy they are. More than 25,000 have signed a petition on Change.org to resurrect the character.

Christmas brings some amusing adverts –we’ve got the Harvey Nichols’ Sorry, I spent it on myself ad and a fun Joe Boxer ad from Kmart – and a plethora of Christmas-themed woolly jumpers. This year Sarah Lund and the cast of The Killing have teamed up with Save the Children to persuade everyone to buy a Christmas jumper and raise money for the global charity.

Finally, staying with a festive theme, enjoy an Alan Partridge takeover of the Christmas lights in Norwich and a bunch of elves from the Hobbit who meet Mean Girls for a Middle Earth mash-up. Oh joy!

Guardian Viral Video Chart. Compiled by Unruly Media and jingled about by Janette

1. Miley Cyrus – Wrecking Ball (Chatroulette Version)
Fabulous balls-up

2. James Franco & Seth Rogen – Bound 3 (Vague)
Come back Kim

3. A Farewell To Brian Griffin
Doggone it

4. Mean Elves
Middle Earth madness

5. ‘Long, stabby thing’
Golden oldie

6. Show Your Joe
Boxing day

7. Lewis Collins on the Bob Mills Show 1997
Tribute to the Professionals actor

8. Harvey Nichols Christmas ad: ‘Sorry, I spent it on myself’
It’s an advertiser’s gift

9. Alan Partridge spectacularly hijacks Norwich Christmas lights
Knowing him

10. The Killing does Christmas Jumper Day
It’s a purl

Source: Viral Video Chart. Compiled from data gathered at 14:00 on 28 November 2013. The Viral Video Chart is currently based on a count of the embedded videos and links on approximately 2m blogs, as well as Facebook and Twitter.

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Mark Morris Dance Group – review

Powered by Guardian.co.ukThis article titled “Mark Morris Dance Group – review” was written by Luke Jennings, for The Observer on Sunday 1st December 2013 00.05 UTC

Great choreographers offer us visions of paradise. Sometimes these are celestial, as in Frederick Ashton‘s luminous Symphonic Variations, or Kenneth MacMillan‘s Requiem; sometimes they are not so much images of heaven as counter-images of our troubled time on earth. Into this category one might place the vision scenes in the 19th-century works of Petipa, and the flawless realm summoned by Balanchine. “That’s where I want to go when I die,” a friend whispered to me recently as the curtain rose on Symphonie Concertante, and a corps de ballet glittering in pink and white against an arctic blue cyclorama.

In our resolutely humanistic age, we still see flashes of this domain in lyrical ballets such as Christopher Wheeldon’s Within the Golden Hour, but today’s paradise is an earthly one, and its principal artificer is Mark Morris. In the 20th century, modernist ballet always seemed to be asking the same question. The moonlit dancers of Balanchine’s Serenade, suspended between divinity and sad fallibility. The haunted sirens of Ashton’s Scènes de Ballet. The cast of Jerome Robbins’s Dances at a Gathering, gazing bemusedly skyward. “Where do we go from here?” they seem to be asking.

Morris provides an answer, and a postmodern sensibility unconstrained by the tensions and ambiguities that so often haunted the work of his predecessors. The men of his company have a civilian look about them, the women are sturdy and unethereal. Morris’s inspiration is music and his subject, more often than not, is joy. We see this, par excellence, in his Festival Dance. To the silvery crosscurrents of a Hummel piano trio the dancers pair up, and are whirled into centrifugal circles and intersecting lines. The choreography is loose-limbed but precisely phrased; the footwork folksy and elaborately cross-stitched. Individuals emerge, but are quickly subsumed into the whole.

Individuals rarely alter the flow of a Morris work. Rather than conflict, there’s choreographic counterpoint; the surface remains untroubled. Socrates, set to Erik Satie’s composition for voice and piano, is in this sense an archetypal Morris work: the subject is the philosopher’s death by poison, but the stately current of the choreography, with its formal lines and friezes, is consolatory. Morris’s spirit guide here is not Socrates but Satie. It’s as if, in the quintessentially human form of music, the choreographer is offering us a blueprint for the future. Follow music’s (and by extension, humanity’s) ineluctable progress towards resolution, he seems to be saying, and all will be well.

Mark Morris Dance Group
‘The men have a civilian look about them, the women are sturdy and unethereal.’ Photograph: Stephanie Berger Photograph: Stephanie Berger./?Stephanie Berger Photography. All Rights Reserved.

This is what people love about Morris’s work. He offers a sense of Arcadian possibility: a return to an age of gold. In The Muir, set to Irish and Scottish folk songs arranged by Beethoven, he presents life as a picnic, touched by moments of regret but essentially sunlit. Crosswalk is a jaunty rush of communitarian fun set to Weber’s Grand Duo Concertant. Everything in the garden (with the possible exception of Socrates’s hemlock) is lovely, and assembled with extraordinary skill. So it almost certainly reflects poorly on me when I write that there are elements of Morris’s work that I can’t quite digest. The fey, skipping men, the relentlessly upbeat smiles, and the hey-nonny-no of it all. I’d love to buy into his consoling, musically impelled universe but I’m afraid I can’t, quite. It’s just not my idea of heaven.

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PS4 gets iOS and Android app

PlayStation App to launch in advance of new console, giving Sony its own take on second-screen gaming

Before Sony rolls out its next-generation console, it will introduce its next-generation mobile and tablet app. The company today confirmed the free PlayStation App will launch November 13 in North America, and November 22 in Europe.

The big draw of the iOS and Android app is that it will enable smartphones and tablets to be used for second-screen gaming with PS4 titles. One example given by the company is in The Playroom, which will come pre-installed on PS4 system. In that title, players will be able to draw images on their mobile devices and have them appear as 3D objects within the game world. The app will also let players watch their friends playing games, so long as the friend has uploaded video or chosen to live-stream the session.

Naturally, the app will also be tied into the system’s social functions, allowing players to message their friends, look at their trophy collections, or purchase new games and DLC (but not video content) on the go. It will also serve as a basic remote control for the system, letting users switch the system into and out of standby mode, or (presumably) controlling media playback.

Via Industry Gamers

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Bruce Wayne’s Millions Can’t Buy F2P Success

Game designer Ethan Levy examines why Warner Bros’ Arkham Origins isn’t matching the F2P stats of Injustice despite the popularity of Batman

When it comes to superheroes and intellectual properties in general, there is no name bigger than Batman. Thanks to Robert Downey Jr’s charisma and Jon Favreau’s directing, Iron Man is having an incredible resurgence over the past few years. But in terms of perennial, world-wide appeal Bruce Wayne is right up there with Michael Jordan and Star Wars in the pantheon of intellectual properties.

The fact that NetherRealm’s free-to-play Arkham Origins is currently enjoying a top 5 position in the US free charts on both iPhone and iPad is not a surprise. What is surprising is that relative to the incredibly strong performance of the studio’s first free-to-play outing, Injustice: Gods Among Us, the Caped Crusader appears to be significantly underperforming.

In a vacuum, Arkham Origins is doing well. Personally, I would be very happy to have a game averaging just below top 100 grossing in the US on both iPhone (106) and iPad (109) over the past 7 days. But throw in the Batman license, the awareness created by a huge PR and marketing campaign for the console game, the unlockable tie-in items and the 18-person strong core mobile team at NetherRealms credited in the game, and I expect that Warner Bros. is scratching its head as to why Origins is falling short of Injustice’s performance, both in a days-from-launch comparison and last 7-days comparison.

By contrast, in its first 7 days, Injustice’s average position on the top grossing chart was 20 on the iPhone and 16 on the iPad. In the past 7 days, it has averaged a top grossing position of 30 on the iPhone and 26 on the iPad. Injustice is clearly outperforming Origins.

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Judging on gameplay and IP alone, the discrepancy in top grossing chart position between these two similar games is befuddling. As a lifelong fighting game and comic fan, the Injustice mobile game did not grab me. Despite the high quality graphics, the gameplay felt incredibly shallow with each character controlling exactly the same as the last. When I spent a few hours grinding to purchase the Bronze card pack, and realized that adding Deathstroke to my roster would not change the experience in a meaningful way, I put the game down. However, as I am fond of saying when lecturing on free-to-play design, fun is a subjective experience. Injustice may not be the right mobile game for me, but clearly from the healthy chart positions and player review scores there is an appreciable audience for the game.

A variation on a theme, Origins has refined the formula put forward in Injustice. Batman has a variety of stances that affect how he fights and the special moves he can unleash. The combo system is improved, fights are shorter and more appropriate for short mobile play sessions, the game’s mechanics are more clearly explained in a way where I actually understood all the buffs and debuffs at work, there are boss fights that change up the pace of battle and the energy mechanic cut me off when I was eager for more action, putting me in state where I was looking forward to coming back a few hours later.

“NetherRealms has made an undoubtedly better game, but a worse free-to-play product. They have made fundamental changes that will earn them brownie points with gamers wary of free-to-play, but have a negative impact on P&L”

Outside of the gameplay, NetherRealm has made clear improvements as well. The game does a better job of teaching me the interface, teaching me how to spend my currency as well as how to upgrade my character. But, as a free-to-play consultant, when I took a look at the premium items on offer it became clear why Origins is currently underperforming relative to Injustice.

10 minutes into Injustice, if a player visits the store he can spend premium currency on packages ranging from 8,000 to 400,000 coins, or $0.53 to $26.67 when purchasing the $100 currency package. If the player does not want a random card pack, but instead wants to directly purchase a favorite character, the prices are in a similar range.

By comparison, if the player visits the Batsuit interface – Origins’ closest equivalent to the card shop in Injustice – 10 minutes into play, he can purchase the Long Halloween suit for 18,000 coins ($1.64 assuming I buy currency at the $100 level) but the rest of the suits are locked. There are other noticeable missteps in the monetization model (pre-battle consumable purchases are hidden behind a sub menu) as well as improvements (the player can spend premium currency to continue a lost battle). But more than anything, I believe that locking the player’s ability to spend currency behind game progressions is the root cause of Origins’ lackluster monetization relative to Injustice. The result is that Origins’ monetization strategy largely devolves to selling energy in place of Injustice’s focus on card packs.

If a player is willing to spend $14.66 worth of in-game currency to unlock Regime Superman, he likely falls into the category of money-rich, time-poor. The player likes battling in Injustice, he likes to win and he is willing to pay a big premium to play as a beloved character and breeze through the game. In this scenario, the same player is likely unwilling to spend hours grinding for the privilege to then spend money on a Batman Beyond suit for the Dark Knight.

Free-to-play development and operations is a marathon, not a sprint. Batman is a perennial brand and Arkham Origins is likely to enjoy a position in the top 100 free downloads charts for months. A few simple changes to the game mechanics, or additional features like gadget packs and multiplayer, cooperative events and the game can easily overcome Injustice in the top grossing charts. But based on the credits section of the two games, I hypothesize that these sorts of changes are unlikely to come to Origins.

All 13 members of Injustice’s core mobile team are credited on Origins, along with 5 new, core team members. Given the short timeframe between the two games, I would guess that after a few weeks or months of live development on Injustice, the full team moved over to Origins in order to hit the hard date that fit into the overall marketing plan for the core, console product. I assume that on a whiteboard somewhere within Warner Bros. the next hard marketing date for the NetherRealms mobile team is already scheduled. Perhaps they are already hard at work on the mobile tie-in for the next Mortal Kombat, or a game to accompany the Batman/Superman movie, or a Lord of the Rings brawler.

When I compare Arkham Origins to Gods Among Us, my sense as a player and a game designer is that NetherRealms has made an undoubtedly better game, but a worse free-to-play product. They have made fundamental changes that will earn them brownie points with gamers wary of free-to-play, but have a negative impact on P&L. Even more damaging is the effect of diverting resources from a top grossing, live game to build a new product. I know from firsthand experience how difficult hiring talented team members can be in a competitive space like mobile game development. But by shifting resources instead of growing the overall mobile team to support multiple games (which I assume is the case solely based on the credits) Warner Bros. has not only delivered a lower performing product, they have missed months’ worth of opportunity to add new features to Injustice that would grow player base and profitability.

However, with the ongoing appeal of Batman and DC Comics characters in general, Warner. Bros and NetherRealms have plenty of time to enhance both products while building new free-to-play games based on a strong stable of brands.

Note: all data courtesy of App Annie and was compiled on Oct 23rd. The first day stats for both Batman: Arkham Origins and Injustice: Gods Among us were thrown out for purposes of this analysis. According to App Annie, both games started listed as N/A and had their proper names switched on at some point in the first day after appearing on the store.

Via Industry Gamers

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Rush

RUSHI could never imagine Chris hemsworth as a racing person but this movie changed my whole perception of how i viewed him. Rush takes you to a time in history when Formula 1 first started or rather at its early stage. It was between two racers that defined the era for F1 racing. These two racers were Niki Lauda and James Hunt.  These both drivers were actually termed rivals in the movie based on a real story though. The Movie had epic moments and times that makes you think how others should think. It gives you a different side of how others who come into a stage of fame react to it and how they will strive to maintain it. Rush is quite an epic movie to watch, its simple, straight forward and it does make sense.

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Escape Plan

Escape PlanNow this is one of the best movies i think these both actors have come together to make. Arnold and Sylvester. Both actors have a knack to make great movies that you just want to watch over again. The story behind Escape Plan deals with a man (“Stallone”) who’s job is to break out of prisons – “can you imagine such a job”. Anyway unfortunately for him, he was double crossed by his business partner and sent to a triple maximum security prison that no one knows about. Its a black Ops prison that governments of the World send in convicted high profile criminals to. In this case when Stallone was thrown there, he met Arnold who is actually an undercover C.I.A agent who went M.I.A due to the fact that he was captured by this Black Ops group that owns the prison. In due time both Arnold and Stallone were working together, in order to free themselves from the bondage they were in. The Part i love in this movie is how Arnold makes up his catch phrases. “Haha Ha You Hit like a Vegetarian”. How in the world is a vegetarian suppose to hit someone, but its completely funny and I simply like the phrase. Anyway this is a lovely movie to watch, it makes absolute sense and you will definitely love it.

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Hey Porsche – Nelly

Nelly Hey Porsche

Hey Porsche Girl I really wanna talk with you. Lemme slide under, under you.

When you hear lyrics like this, it makes you wonder what some people got going inside their heads. Nelly is a pretty old guy but can you see how Young he looks. It amazes me when i get to watch videos like this. Hey Porsche is a lovely song by Nelly. I like he songs because unlike other rappers or should i say HipHop stars he’s still trying to come back into the game. Like, his current album got packed with lovely song that might confuse you that he’s going RnB even. Anyway listen to this song, its a lovely tune. I love the lyrics and the beats is just off the hook.

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