Gareth Coker

Total Page:16

File Type:pdf, Size:1020Kb

Gareth Coker GARETH COKER AWARDS / NOMINATIONS G.A.N.G AWARDS Ori and the Blind Forest Win: Audio of the Year, Best Original Instrumental, Rookie of the Year Nom: Music of the Year, Best Original Soundtrack Album (2016) DICE AWARDS Ori and the Blind Forest Win: Outstanding Achievement in Music Composition (2016) BRITISH ACADEMY GAMES Ori and the Blind Forest AWARDS Nom: Music (2016) THE GAME AWARDS Ori and the Blind Forest Nom: Best Score/Soundtrack (2015) VIDEO GAMES ARK: SURVIVAL EVOLVED (upcoming) Wildcard Studios, pub./dev. ORI AND THE BLIND FOREST Microsoft Studios, pub. Moon Studios, dev. THE MEAN GREENS: PLASTIC WARFARE Virtual Basement LLC, pub./dev. MINECRAFT: GREEK MYTHOLOGY Microsoft Studios, pub. EXPANSION 4J Studios, dev. PRIMAL CARNAGE: EXTINCTION Circle 5 Studios, pub./dev. PRIMAL CARNAGE Reverb Publishing, pub. Lukewarm Media, dev. InMOMENTUM White Rabbit, pub. Digital Arrow, dev. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 GARETH COKER FEATURE FILM EMMA’S CHANCE Anna E. James, dir. Taylor & Dodge Productions THE LABYRINTH James Franco, prod./dir. Rabbit Bandini Productions DARK POWER John Milton Brandon, dir. Cinevia, 7 Continents Films, Renaissant Films SHORT FILM LET GO Kevin Kobori, dir. THE SWEET TASTE OF Tarek Tohme, dir. REDEMPTION RECOIL Evan Matthews, dir. RUSH Cassandra Brooksbank, dir. THRILLING CONTRADICTIONS Cassandra Brooksbank, dir. BUOYANCY Ryan Surratt, dir. WHERE THE SKY IS BORN Freddy Gaitan, dir. VERAX Jeff Florro, Edwin Lee, dirs. BILLY IN MOTION Maury Shessel, dir. THE PLAGARIST’S GAME Cassandra Brooksbank, dir. RISE Alex Beatty, dir. DOG-EARED Joshua Tate, dir. HAVEN’S POINT Anna Elizabeth James, dir. CALL TO ARMS Cassandra Brooksbank, dir. AUGUST’S CLAIM Evan Matthews, dir. GOOD INTENTIONS Anissa Douglass, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 2 GARETH COKER I AM RUPERT CALDWELL Garrett Lee, dir. THE SILENCE INSIDE US Gabriel Bruskoff, dir. WAKING UP Yuta Okamura, dir. CAB 57 Apo Bazidi, dir. UPON RELEASE Deborah Lascelles, dir. DYSTERIA Maria Karin Akesson, dir. GEORGE’S 40TH BIRTHDAY Brittney Segal, dir. HOMELAND Apo Bazidi, dir. LAUGH AND DIE Edson Oda, dir. WHAT TO BRING TO AMERICA Christophe Nassif, dir. YOU KILL ME Monica Sender, dir. ELLEN Kyle Hausmann-Stokes, dir. UNWOUND Donato Bragagnolo, dir. NAMELESS Ariella Blejer, dir. TELEVISION PLACEMENTS UFC Countdown, UFC 181, 186, 187, UFC on Fox 13, UFC Fight Night 66, UFC Rising This Week in WWE (multiple episodes) Mob Wives Ocean Mysteries With Jeff Corwin Animals Gone Wild Ice Cold Killers Alaska Ice Cold Killers Tapia (HBO) Parking Wars Cajun Pawn Stars Escaping Polygamy The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 3 GARETH COKER BRANDS/CORPORATE Jaguar Nevada Energy BMW AXE US Department of Veteran Affairs Sight & Sound Theaters ITV University of Southern California The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 4 .
Recommended publications
  • Sparking a Steam Revolution: Examining the Evolution and Impact of Digital Distribution in Gaming
    Sparking a Steam Revolution: Examining the Evolution and Impact of Digital Distribution in Gaming by Robert C. Hoile At this moment there’s a Renaissance taking place in games, in the breadth of genres and the range of emotional territory they cover. I’d hate to see this wither on the vine because the cultural conversation never caught up to what was going on. We need to be able to talk about art games and ‘indie’ games the ways we do about art and indie film. (Isbister xvii) The thought of a videogame Renaissance, as suggested by Katherine Isbister, is both appealing and reasonable, yet she uses the term Renaissance rather casually in her introduction to How Games Move Us (2016). She is right to assert that there is diversity in the genres being covered and invented and to point out the effectiveness of games to reach substantive emotional levels in players. As a revival of something in the past, a Renaissance signifies change based on revision, revitalization, and rediscovery. For this term to apply to games then, there would need to be a radical change based not necessarily on rediscovery of, but inspired/incited by something perceived to be from a better time. In this regard the videogame industry shows signs of being in a Renaissance. Videogame developers have been attempting to innovate and push the industry forward for years, yet people still widely regard classics, like Nintendo’s Legend of Zelda: Ocarina of Time (1998), as the best games of all time. As with the infatuation with sequels in contemporary Hollywood cinema, game companies are often perceived as producing content only for the money while neglecting quality.
    [Show full text]
  • LUDIC VISUALS the Visualizations of Game Mechanics
    LUDIC VISUALS The Visualizations of Game Mechanics Laura Laakso Master’s Thesis Master of Arts in New Media New Media: Game Design and Production Department of Media School of Arts, Design and Architecture Aalto University 2019 P.O. BOX 31000, 00076 AALTO www.aalto.fi Master of Arts thesis abstract Author Laura Laakso Title of thesis Ludic Visuals: The Visualizations of Game Mechanics Advisor Laura Valojärvi Supervisor Miikka Junnila Department Department of Media Degree program New Media: Game Design and Production Year 2019 Number of pages 167 Language English BSTRACT A There is a lot of systemic information in games, but its visual expression has been a relatively under-researched phenomenon. Earlier research tends to pair the visual presentation of games together with the game narrative. However, game mechanics can also be expressed visually. In this thesis, game mechanics are the parts that form the game system such as the rules, the events, and the pieces of a game. This thesis studies how game mechanics are visualized. My research hypothesis suggests that there are components that consist of both game- mechanical and visual aspects. I have named them ludic visuals. This research identifies and explores the presence of ludic visuals in games from the perspective of what is available for a player. This thesis is largely based on previous game research and various theories of perception and experiencing. The experience of being inside a gameworld is deemed similar to the experience of being inside the real world, which made it possible to approach ludic visuals as functional parts of gameworlds.
    [Show full text]
  • Integrating Visual Effects Into 2D Platformer Games to Enhance Play Experiences
    Integrating Visual Effects into 2D Platformer Games to Enhance Play Experiences Hao Tian Game Science and Design Northeastern University [email protected] Thesis Presented by Hao Tian to the Department of Art + Design In Partial Fulfillment of the Requirements for the Degree of Master of Science in Game Science and Design in the Graduate School of the College of Arts, Media and Design Northeastern University Boston, Massachusetts May, 2020 Abstract This paper offers an experimental result of how to design visual effects in the 2D game to enhance play experience by offering visually appealing graphics and helping players understand the game. Visual effects in the video game industry were used as set decoration because they can attract players from an aesthetic aspect and even help players understand the game better. More than just making the game visually appealing, they can also be used to guide the players on how a game's mechanics should work without using text-based instructions. By integrating appropriate visual effects into a 2D platformer game, the game mechanics become easily understood by the player, and the appropriate visual effects can also help players immerse into the game from both narrative perspective and interactive perspective. In this research project, the development team applied game design concepts and art knowledge to design visual effects based on the principle making them appealing and informative. The visual effects are applied to the game objects or shown with other elements. This paper uses the data collected from the playtest to iterate the design. The result from playtests shows the game designers and graphics designers need to relate visual effects to core game mechanics to help players to understand the game mechanics and the game theme, which can help players to be more engaged in the game.
    [Show full text]
  • Women As Video Game Consumers
    Women as Video Game Consumers Hanna Kiviranta Bachelor’s Thesis Degree Programme for Multilin- gual Management Assistants May 2017 Abstract Date: 31.5.2017 Author Hanna Kiviranta Degree programme Degree Programme for Multilingual Management Assistants Report/thesis title Number of pages Women as Video Game Consumers and appendix pages 41 The purpose of this Thesis is to study women as video game consumers through the games that they play. This was done by case studies on the content of five video games from genres that statistically are popular amongst women. To introduce the topic and to build the theoretical framework, the key terms and the video game industry are introduced. The reader is acquainted with theories on consumer behav- iour, buying processes and factors that influence our consuming habits. These aspects are tied together by discussing women as consumers of technology, and the video game mar- keting specifically targeted for women. Lastly, the theoretical framework is finalised with im- portant statistics and earlier data on video game consumers, as well as the specific genres they prefer. The case study research is conducted with the research problem in mind: what video games do women play, and are there common characteristics amongst these games which could give us more insight why they prefer these games and their genres? All the games are analysed through a defined set of questions and criteria, as well as compared to their respective genres and each other. Finally, the results are analysed in relation to the theo- ries on consumer behaviour and past data on women as video game players.
    [Show full text]
  • Force Awakens’ on Track for Record $215M-Plus Weekend Tar Wars” Fever Has Spread Through Movie Theaters Fan-Friendly Return Lion on Thursday
    lifestyle SUNDAY, DECEMBER 20, 2015 Features ‘Force Awakens’ on track for record $215M-plus weekend tar Wars” fever has spread through movie theaters Fan-friendly return lion on Thursday. Imax and 3-D screenings are helping to propel the record around the globe, even reaching the White House, The international rollout for the film, made for about $200 While “Star Wars” helped create the summer blockbuster, gross. Disney said that 47 percent of the Thursday box office “Sas the franchise yet again began toppling box-office million, has already brought in an estimated total of $72.7 mil- “The Force Awakens” is debuting in the holiday season of came from 3-D showings and $5.7 million from Imax screens. records with waves of lightsaber-wielding fans. lion since opening in a handful of countries Wednesday. “The December, where the previous top opening was the $84.6 mil- A lot is riding on the film for Disney, which paid $4.06 billion Following a record $57 million from Thursday night show- Force Awakens” is simultaneously opening around the world lion debut of 2012’s “The Hobbit: An Unexpected Journey.” By for Lucasfilm in 2012. Sequels and spinoffs are already in ings in North America, and packed matinees on Friday, the just about everywhere but China, where it debuts in January. Disney’s estimates, “The Force Awakens” - the widest development for years to come, not to mention an entire cor- Walt Disney Co. projected that “Star Wars: The Force Awakens” It’s setting records overseas, too, including the biggest single December opening ever with 4,134 theaters - blew past that ner of Disneyland devoted to the franchise.
    [Show full text]
  • Creating Immersive 2D World Visuals for Platform Games – Post-Mortem: Skytails
    Creating Immersive 2D World Visuals for Platform Games – Post-Mortem: Skytails Eveliina Aalto Master’s Thesis Master’s Programme in New Media Game Design and Production Aalto University 2020 1 “Although an image is clearly visible to the eye, it takes the mind to develop it into a rich, tangible brilliance, into an outstanding painting.” — Jeanne Dobie, Making color sing 1 Author Eveliina Aalto Title of thesis Creating immersive 2D world visuals for platform games – Skytails Post-Mortem Department School of Arts, Design and Architecture Degree programme New Media: Game Design & Production Supervisor Miikka Junnila Advisor Heikka Valja Year 2020 Number of pages 64 Language English Abstract Game visuals are a crucial part of the game aesthetics – art evokes emotions, gives information, and creates immersion. Creating visual assets for a game is a complex subject that can be approached in multiple ways. However, the visual choices made in games have many common qualities that can be observed and analyzed. This thesis aims to identify the benefits of applying art theory principles in two-dimensional platform games’ visuals and its impacts on the player’s aesthetic experience. The first chapter of the study introduces a brief history of platform games, screen spaces, and the method of parallax scrolling. Platform games, commonly known as platformers, refer to action games where the player advances by climbing and jumping between platforms. In 1981, the first platform arcade game, Donkey Kong, was introduced. Since then, the genre has expanded to various sub-genres and more complex graphics with the advances in the hardware. The second chapter demonstrates the core principles of art theory regarding color, composition, and shape language.
    [Show full text]
  • Playing to Death • Ken S
    Playing to Death • Ken S. McAllister and Judd Ethan Ruggill The authors discuss the relationship of death and play as illuminated by computer games. Although these games, they argue, do illustrate the value of being—and staying—alive, they are not so much about life per se as they are about providing gamers with a playground at the edge of mortality. Using a range of visual, auditory, and rule-based distractions, computer games both push thoughts of death away from consciousness and cultivate a percep- tion that death—real death—is predictable, controllable, reasonable, and ultimately benign. Thus, computer games provide opportunities for death play that is both mundane and remarkable, humbling and empowering. The authors label this fundamental characteristic of game play thanatoludism. Key words: computer games; death and play; thanatoludism Mors aurem vellens: Vivite ait venio. —Appendix Vergiliana, “Copa” Consider here a meditation on death. Or, more specifically, a meditation on play and death, which are mutual and at times even complementary pres- ences in the human condition. To be clear, by meditation we mean just that: a pause for contemplation, reflection, and introspection. We do not promise an empirical, textual, or theoretical analysis, though there are echos of each in what follows. Rather, we intend an interlude in which to ponder the interconnected phenomena of play and death and to introduce a critical tool—terror manage- ment theory—that we find helpful for thinking about how play and death interact in computer games. Johan Huizinga (1955) famously asserted that “the great archetypal activi- ties of human society are all permeated with play from the start” (4).
    [Show full text]
  • Gareth Coker
    GARETH COKER AWARDS / NOMINATIONS G.A.N.G AWARDS Win: Audio of the Year, Best Original Ori and the Blind Forest Instrumental, Rookie of the Year Nom: Music of the Year, Best Original Soundtrack Album (2016) DICE AWARDS Win: Outstanding Achievement in Music Ori and the Blind Forest Composition (2016) BRITISH ACADEMY GAMES AWARDS Ori and the Blind Forest Nom: Music (2016) THE GAME AWARDS Nom: Best Score/Soundtrack (2015) Ori and the Blind Forest VIDEO GAMES HALO INFINITE 343 Industries / Skybox Labs *Co-Composer with Joel Corelitz & Curtis Schweitzer IMMORTALS FENYX RISING Ubisoft Quebec / Ubisoft ORI AND THE WILL OF THE WISPS Moon Studios / Microsoft DARKSIDERS GENESIS Airship Syndicate / THQ Nordic ARK: SURVIVAL EVOLVED Studios Wildcard MINECRAFT: GREEK MYTHOLOGY Mojang / Microsoft EXPANSION THE UNSPOKEN Insomniac Games / Oculus THE MEAN GREENS: PLASTIC WARFARE Virtual Basement LLC ORI AND THE BLIND FOREST Microsoft Studios / Moon Studios PRIMAL CARNAGE: EXTINCTION Circle 5 Studios PRIMAL CARNAGE Reverb Publishing/Lukewarm Media InMOMENTUM White Rabbit/Digital Arrow The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 GARETH COKER FEATURE FILM EMMA’S CHANCE Anna E. James, dir. Taylor & Dodge Productions THE LABYRINTH James Franco, prod./dir. Rabbit Bandini Productions DARK POWER John Milton Brandon, dir. Cinevia, 7 Continents Films, Renaissant Films SHORT FILM LET GO Kevin Kobori, dir. THE SWEET TASTE OF Tarek Tohme, dir. REDEMPTION RECOIL Evan Matthews, dir. RUSH Cassandra Brooksbank, dir. THRILLING CONTRADICTIONS Cassandra Brooksbank, dir. BUOYANCY Ryan Surratt, dir. WHERE THE SKY IS BORN Freddy Gaitan, dir. VERAX Jeff Florro, Edwin Lee, dirs. BILLY IN MOTION Maury Shessel, dir. THE PLAGARIST’S GAME Cassandra Brooksbank, dir.
    [Show full text]
  • Gareth Coker
    GARETH COKER AWARDS / NOMINATIONS BRITISH ACADEMY GAMES Ori and the Will of the Wisps AWARDS Nom: Music (2021) DICE AWARDS Ori and the Will of the Wisps Nom: Outstanding Achievement in Original Music Composition (2021) SXSW GAMING AWARDS Ori and the Will of the Wisps Nom: Excellence in Score (2021) G.A.N.G AWARDS Ori and the Blind Forest Win: Audio of the Year, Best Original Instrumental, Rookie of the Year Nom: Music of the Year, Best Original Soundtrack Album (2016) DICE AWARDS Ori and the Blind Forest Win: Outstanding Achievement in Music Composition (2016) BRITISH ACADEMY GAMES Ori and the Blind Forest AWARDS Nom: Music (2016) THE GAME AWARDS Ori and the Blind Forest Nom: Best Score/Soundtrack (2015) VIDEO GAMES HALO INFINITE 343 Industries / Skybox Labs *Co-Composer with Joel Corelitz & Curtis Schweitzer IMMORTALS FENYX RISING Ubisoft Quebec / Ubisoft ORI AND THE WILL OF THE WISPS Moon Studios / Microsoft DARKSIDERS GENESIS Airship Syndicate / THQ Nordic ARK: SURVIVAL EVOLVED Studios Wildcard MINECRAFT: GREEK MYTHOLOGY Mojang / Microsoft EXPANSION The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 GARETH COKER THE UNSPOKEN Insomniac Games / Oculus THE MEAN GREENS: PLASTIC WARFARE Virtual Basement LLC ORI AND THE BLIND FOREST Microsoft Studios / Moon Studios PRIMAL CARNAGE: EXTINCTION Circle 5 Studios PRIMAL CARNAGE Reverb Publishing/Lukewarm Media InMOMENTUM White Rabbit/Digital Arrow FEATURE FILM EMMA’S CHANCE Anna E. James, dir. Taylor & Dodge Productions THE LABYRINTH James Franco, prod./dir. Rabbit Bandini Productions DARK POWER John Milton Brandon, dir. Cinevia, 7 Continents Films, Renaissant Films SHORT FILM LET GO Kevin Kobori, dir. THE SWEET TASTE OF Tarek Tohme, dir.
    [Show full text]
  • Paradoxical Indie Games
    Paradoxical Indie Games A Critical Study of Game Violence in Multitudinous Indie Games David ten Cate (6294294) Honours Bachelor Thesis Media and Culture 2019-2020, 4th term Utrecht University Supervisor Joost Raessens Annotation Style Chicago Notes and Bibliography 11540 words June 26, 2020 Image on the cover: A big climate strike in Hamburg, Germany on September 20, 2019.1 Added to the original photo is the shooting interface of September 12th: A Toy World (2003). 1 “IN PICTURES: Germany takes to the streets in global climate strike,” The Local, accessed June 25, 2020, https://www.thelocal.de/20190920/in-pictures-germany-takes-to-the-streets-in-the-global-climate-strike. 2 Table of Contents Abstract.................................................................................................................................4 Honours Justification ...........................................................................................................5 Introduction ..........................................................................................................................6 CHAPTER I: Towards a Critical Understanding of Game Violence .................................9 1.1 Conceptualizing Game Violence ..................................................................................... 10 1.2 Explicit Violence: Playing the Soldier............................................................................. 13 1.3 Implicit Violence: The Multitudinous Indie and its Symbolic Violence ........................... 15 1.4 Games
    [Show full text]
  • Ja Viihdejärjestelmä Xbox One Julkaistaan Suomessa 5. Syyskuuta
    Uuden sukupolven kattavin peli- ja viihdejärjestelmä Xbox One julkaistaan Suomessa 5. syyskuuta Hittipelien, television, Skypen, elokuvien ja musiikin lisäksi perjantaina julkaistava Xbox One tarjoilee jatkossa myös suomalaisia sovelluksia: ensimmäisen Xbox One -sovelluksen julkaisee videotilauspalvelu Filmnet. Yksinoikeudella Xbox Onella nähdään myös suomalaisyhtiö Remedyn luoma, pelaamisen ja tv-sarjan uudella tavalla yhdistävä suurtuotanto Quantum Break. Xbox One vie käyttäjän entistä upeampien ja henkilökohtaisempien peli- ja viihde-elämysten maailmaan. Pelaajille on tulevana jouluna luvassa laaja kattaus pelejä yksinoikeudellisista elämyksistä aina suurimpiin hitteihin, kuten Forza Horizon 2, Sunset Overdrive, Halo: The Master Chief Collection, Minecraft: Xbox One Edition, Dance Central Spotlight, NHL 15, FIFA 15, Call of Duty: Advanced Warfare, Assassin’s Creed: Unity, Ori and the Blind Forest, Kinect Sports Rivals ja monta muuta. Lisäksi peli- ja viihdejärjestelmä tarjoilee käyttäjilleen useita musiikki- ja elokuvapalveluita sekä muita sovelluksia, kuten Kinect 2.0 -liiketunnistusta hyödyntävän Xbox Fitness -treenisovelluksen ja Skype HD - videopuhelut. "Xbox One on markkinoiden kattavin peli- ja viihdejärjestelmä. Kunnianhimoisena tavoitteenamme on viedä pelit ja viihde olohuoneessa uudelle tasolle. Haluamme, että jokainen laitteen parissa vietetty hetki on ainutlaatuinen ja henkilökohtainen”, kommentoi Xbox- liiketoimintajohtaja Jussi Luoto Microsoftilta. Ensimmäinen suomalainen Xbox One -sovellus Videotilauspalvelu Filmnet julkaisee
    [Show full text]
  • Hollow Knight Ori and the Blind Forest Devil May Cry 5
    Manish Soni http://www.manishsoni.co 1. List five of your favorite games with a brief description of why you believe them to be well designed (one sentence or keywords is enough). Please include at least two mobile games, and at least two core games in your list. Hollow Knight Why – Unique Characters Design, Captivating Story-Telling, and Satisfying Boss Fights Genre- Metroidvania, 2D platforming game Platform- PC, Linux, MacOS, Nintendo Switch Ori and the Blind Forest Why – Soothing Background Music and Sound Effects, Rhythmic Combat System, Creative Open World Exploration, and Amazing Abilities Genre- Metroidvania, 2D Platforming game Platform- PC, X-Box One and 360 Devil May Cry 5 (2013) Why – Fluid Combo-Combat System, Innovative Abilities, Amazing Voice over acting (especially Mundus) Genre- Hack and Slash, Action-Adventure Platform- PC, Console Temple Run 1 Why – Intuitive Design and Engaging Gameplay Genre- Platforming Platform- Mobile Dan the Man Why – Fluid Combat System, Varied Abilities and Challenging Boss Fights Genre- Action Platforming Platform- Mobile Manish Soni http://www.manishsoni.co 2. Choose two of the games from your list and describe two things you would do differently to improve both games if you were the PM working on that title. Think about technical, gameplay, design, user experience, and be as detailed as possible. Dan the Man - Action Platformer Dan the Man is a 2-D action platformer available on Apple App Store, Google Play Store, and Amazon Apps. Currently, have more than 10 M app downloads combining all app stores. The game adopts retro brawl - punch style gameplay which my assumption is targeted at younger audience i.e.
    [Show full text]