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Review by :

i think worms armageddon is the best psone game of all time.

the weapons are great. a concerete donkey and a mb bomb?

is there any codes for ‘unlock all weapons’ because i need to test all of them. i did have the ‘AR2 V2′ psone and ps2 cheat code disc, but i lost it. just put this code on either cheat planet or codejunkies. i’ll be checking it 17th jan 2007.

Review by O. Brown:

This is going to be a good game because of the new cards. A few things I didn’t like.

1) Didn’t like that there were no voices. I knew it didn’t come with voices but they should have them

2) It starts like tag force 2 only with just new starter deck. I wanted a very brand new game…oh well.

3) Needs more animation. Not just the old tired ones.

Review by Edward A. Perez:

A Midsummer Night’s Dream, with music by Felix Mendelssohn, is George Balanchine’s story-ballet masterpiece based on Shakespeare’s play. The Pacific Northwest Ballet’s full-length production was performed and videotaped before a live audience at London’s Sadler’s Wells Theatre in February 1999. Critics lavishly praised this outstanding presentation. PNB artistic directors Francia Russell and Kent Stowell have trained and coached their dancers to a very high level of artistic excellence. The corps de ballet exhibits technical prowess, evident in every dance sequence. The women in the corps de ballet do pas de bourree courus, pirouettes, and various poses all in perfect unison. The ensemble dancing is precise and seamless. What you will not see in this ballet are maneges of coupe-jete turns, grands pirouettes, or multiple tours en l’air. Balanchine does not have his ballerinas do excessive fouettes rond de jambe en tournant. He is reported to have said that two or three revolutions in succession were enough (after that, he notes, the audience starts counting). His choreography calls for dancers to perform subtle moves and changes in direction. His is a lyrical ballet, not one of brute force and athletic bravura. As you view this ballet, take note of the well-mannered, courteous audience. British audiences are not clap-happy. American audiences, by contrast, often interrupt the music with unnecessary, inappropriate, and annoying applause (or frenzied screaming and whistling). (I think many balletgoers confuse ballet with figure skating competitions.) This audience applauds only after the music has stopped, allowing us to experience the emotional impact of ballet by witnessing bodily movement with the accompaniment of music.

Principal ballerina, Patricia Barker as Titania, shows why ballet audiences and critics alike so highly regard her. The steps she executes and poses she takes are done with ease and grace. Her deep arabesques- and attitudes-penchees exude elegance. Paul Gibson (Oberon) glides across the stage, turns suavely, and does some very nice batterie, while Charles Newton (Titania’s Cavalier) shows that he too can move with agility and finesse. Hippolyta (Ariana Lallone) does a variety of jetes and turns. Three very fine grands jetes pas de chat in a row punctuate a sequence of turns, steps, and postures. The crowd pleaser, however, is Seth Belliston (Puck). He is a very expressive mime. His movements all over the floor are dazzling: He runs; he jumps; he spins with esprit and verve. Act II, a divertissement, features Louise Nadeau and Olivier Wevers in a pas de deux so sensuous it’s impossible not to be filled with joy having witnessed their passion provoking dancing. Ms. Nadeau displays perfect line and musicality. Mr. Wevers lifts her effortlessly. Notice how adept he is as a Cavalier as he lowers her on pointe to the floor with delicate, and seemingly effortless, control. His turns and leaps are clean and sharp. Lisa Apple, Julie Tobiason, Ross Yearsley, and Jeffrey Stanton (the two sets of lovers) and Kaori Nakamura (Butterfly) turn in solid performances. Timothy Lynch (Bottom) makes a fine “ass.”

The BBC Concert Orchestra, under the direction of Stewart Kershaw, gives a polished and sonorous performance of the Overture and Incidental Music To A Midsummer Night’s Dream (augmented with other delightful music of Mendelssohn). Three vocal accompaniments, liltingly sung by soprano Libby Crabtree, mezzo-soprano Judith Harris, and a small chorus include: 1) the “Fairies Song” (No. 3, Op. 61) set to Shakespeare’s “Fairies Song” (Act II, Scene 2); 2) an excerpt from Mendelssohn’s The First Walpurgis Night for voices and orchestra (Op. 60); and 3) the “Finale” (No. 13, Op. 61) with portions of Oberon’s and Titania’s speeches at the end of Scene 1, Act V. (The booklet included with the DVD does not provide the texts of the vocals.) This is a “must-have” DVD.

Review by Charles S. Houser:

George Balanchine is remembered most for his one-act, abstract, storyless ballets and is thought to have shunned the full-evening ballets that tell a story. Yet his version of “The Nutcracker” is an annual Christmas money-maker for the ballet company Balanchine helped found (the New York City Ballet) and that company’s summer season often closes with his other great story ballet, “A Midsummer Night’s Dream.” Indeed, the two ballets in many ways seem to be stamped from the same cookie cutter. Both dispose of their drama in the first act and use the second act to dazzle the audience with some splendid divertissements; both ignore the sacred roots of the Christian “feast days” they were created around (the Nativity of our Lord for “The Nutcracker” and the Nativity of St. John the Baptist for “A Midsummer Night’s Dream”); and both are littered with ample roles for the School of American Ballet’s many child dancers (in “Nutcracker” they are cast as greedy, mutually teasing, parent-manipulated brats romping around the Christmas tree; in “A Midsummer Night’s Dream” they are charming, almost camp, butterflies and fairies…though one page does get caught in a custody battle between Oberon and Titania, the king and queen of the fairies.)If Balanchine resented choreographing these two story ballets, he hid his resentment well. “A Midsummer Night’s Dream” is for me the better ballet. The children are well-integrated into what is certainly an adult storyline of sexual jealousy and comical mishaps. And the Pacific Northwest Ballet under the artistic direction of Francia Russell have done Mr. B. proud. Martin Pakledinaz’s costumes rival those of Karinska (would it be sacrilege to admit I actually prefer his over hers?) and his set design, with it’s oversized frogs and flower blossoms, playfully dwarfs the dancers, reminding us that most of the characters on stage are actually miniature fairyland creatures. The dancers all perform beautifully, with Seth Belliston’s Puck stealing the show. My favorite part of the ballet has always been the subplot of the four young lovers: Helena, Hermia, Lysander, and Demetrius. They are virtually interchangeable; this is signaled by their costumes–one pair wears blue on red, the other red on blue. Due to Puck’s inept intervention, the lovers’ interests switch with lightning speed. It is truly amusing to watch this amorous tempest in a teapot play out. (My reason for giving this wonderful ballet video 4 stars instead of 5 is that I felt the filming of this pas de quatre spoiled the energy of this scene. When all four dancers are on stage, you really need to see what each one is doing to appreciate all the subtleties of the dance. The emphasis on close-ups and medium close-ups seemed to defuse the dramatic and comic tension that Balanchine so artfully created. But this is not the fault of the dancers–Lisa Apple, Julie Tobiason, Ross Yearsley, and Jeffrey Stanton give it everything they’ve got.) Children will enjoy seeing Titania fall in love with Bottom who has been given a donkey’s head and who finds himself unable to completely return her love because of his new found love of sweet grasses.The second act dancing is beautiful, but courtly and staid. The music draws from a number of works by Felix Mendelssohn, not just from the title work. The vocal pieces sung by Libby Crabtree and Judith Harris were especially nice. the DVD has no extras, but the 12-page color booklet is crammed with interesting information.

Review by :

This game is awesome. It takes place in the not so distant future, where battle mechs called wanzers dominate the battle field. You are Kazuki Takemura(but you can change your name)and you work for a wanzer making/testing company. You become trapped in a world wide conspiracy and you must get to the bottom of it by fighting tons of battles in your and your allies wanzers. The combat system is turn based and your wanzers can learn battle skills such as tackle,zoom, or stun punch. Move your mech, choose your attack, and then sit back and watch the battle cinematics. Wonderful graphics and gameplay. A must have for gamers who love battle mechs, turn based games, or any type of gamer. Squaresoft did a lovely job with this game.

Review by :

I bought Front Mission 3 for a few reasons – because I am a diehard Squaresoft fan (Final Fantasy VII was my first game and is still my all-time favorite) because I loved the idea of robots in RPGs (Xenogears is my second favorite) and because RPGs are my favorite game genre. I had logged 29 hours of play time on FM3 when my memory card mysteriously deleted itself (not the game’s fault – crappy card) so I didn’t get to see all the game had to offer. However, I did get an understanding of the game. The battle system is probably the game’s best feature. The isometric, 3D battle fields are reminiscent of the ones in Final Fantasy Tactics, and you fight your enemies in large robots called wanzers. Characters can use machine guns, shotguns, melee weapons (fist, baton, spike), missiles, grenade launchers, and other weapons to decimate your opponents. Each TYPE of weapon gains experience as you use them, so you can have one character who is good with shotguns or another who can effectively wield machine guns. One particular feature of this game is both a pro and a con. This would be the Network, which is like the World Wide Web. You pick a country, a type of site, and the site itself. From there, you can “download” programs, access restricted areas by receiving passwords (more on that later) or just see what’s happening around the “world” of FM3. While this makes the game fantastically deep, I think it is way too complex. There are at least 100 web sites, and to see them all would require a LOT of time and patience. With the “Network” also comes a version of E-Mail. The characters in your party will occasionally receive mail from various people they know, and you sometimes have the option of answering it with pre-written replies. In addition to this, people will sometimes give you passwords to enter restricted areas of some Network sites. There is even a secret E-Mail address that lets you see a little congratulatory message for finding the address. One part of FM3 that can be seen as either a pro or a con is that it takes place on Earth, albeit in 2112. This way, you know where everything is, but it takes an element of discovery away from the game. In my opinion, the biggest fault of FM3 is its EXTREME linearity. You do not walk from town to town in this game; rather, you click where you want to go (because of the linearity there is never much choice), taking you there immediately. You can’t even walk up to a person to talk to them; you have to choose their name from a list of people that you are near to. I think that this is absurd. I have always liked being able to walk around and talk to people in RPGs, but in this game, that simply DOES NOT HAPPEN. If it were not for that, this game would have probably received the full five stars from me. In all, Front Mission 3 is a great game for people who like fighting with huge machines, using strategy, and surfing the web, but do not mind that you have a set course to follow that is impossible to deviate from. I would recommend this game to them, and hope that they enjoy it immensely.