DOCSLIB.ORG

The DCRC Newsletter – March 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The DCRC Newsletter – March 2019 VOICE The Disability Community Resource Center Newsletter March 2019 ISSUE DCRC Newsletter Edited by Jay Aquino and TJ Hill FROM THE EXECUTIVE DIRECTOR TO PEER SPECIALIST Spring is in the air! Well almost. March 20th is the first official day of spring after what feels like a particularly harsh winter in California. In addition to “springing for- ward” with our clocks, now is a good time to focus on our new beginnings at the DCRC. We emerge into the spring with new Board of Directors and executive officers – Wel- DCRC Executive Director TJ Hill come Sara Pezeshkpour as our new Boar President and Carla Lewis-Irizarry as a new the opportunity to work. Board member and the new Community Advisory Council President! We love see- Speaking of work, spring is also a great ing these emerging leaders take important time for our community to recommit to sup- leadership roles at the Center. porting our work on behalf of people with disabilities and seniors. There are many We are also starting an exciting new pro- simple but meaningful ways to support the gram to increase employment for people DCRC. Join our Kroger Co. Family of Stores with a mental health condition through a Community Rewards Program by electing joint partnership grant with the Department the Disability Community Resource Center of Rehabilitation and the Los Angeles Coun- (ID: CQ054) as your community non-profit to ty Department of Mental Health. This pro- support. Or donate through Amazon Smile gram represents the culmination of years of while doing your online shopping. Finally, advocacy from the disability community and we love regular monthly PayPal donations mental health advocates who too often saw as ongoing gift. Help us plant the seeds for a mental health diagnosis paired with unem- new programs and services this spring – for ployment. DCRC is committed to increasing details go to www.dcrc.co/donate/. employment for all people with disabilities – including our brothers and sisters with a Happy Spring! mental health diagnosis! We should all have FROM STUDENT TO PEER SPECIALIST Opportunity can knock when you least During his time in her class, Rosy felt expect it, however, it is up to each individual that Richie demonstrated his leadership to seize that opportunity. Opportunity skills and abilities throughout the session. knocked with Richie Wladich, DCRC’s Peer Classmates often approached him for Specialist for Client Run Services, and he resources, mentorship and support. As seized the chance. Before meeting DCRC’s part of his assignments, he assisted with PSEP Coordinator Rosy Tellez, Richie did staffing of booths for the Center at various not consider himself an advocate. It was her conferences. He learned the essential insights on being an advocate that changed functions of the Center’s DMH services. DCRC Executive Director TJ Hill his perspective. Richie completed the program in July 2015. Richie first heard about DCRC (which was After the class, Richie continued to work known as WCIL at the time) at a Culver with and volunteer at the Center. When a job City Town Hall Meeting. At the meeting, opening presented itself, Richie applied for Rosy shared her own experiences and the position and was hired. He became part discussed her role as a peer advocate as of DCRC’s staff in April 2016. Rosy feels part of a panel. “I heard her describing that each person has their own unique path her situation, and how she now serves that leads them to where they are. As she as a peer specialist. I thought that was told Richie during their first meeting, she something I could do, so I approached her feels that one’s previous lived experiences at the table” explains Richard Wladich. In are an asset to helping others, particularly their conversation, Rosy informed him that in mental health advocacy. And Richie’s his unique journey of wellness is valued journey demonstrates that. in this field. She also let him know about the mental health advocate training that is As Richie approaches his three year available at the Center, now known as our anniversary at DCRC in April, he describes Peer Specialist Training (PST) Class. how he continues to grow in his role - “It’s been a learning process. I learn something Richie applied for the PST Class and was new every day here. Even now, even after accepted into the Spring 2015 session. the last three years, there’s so much to learn The Future of Gaming DCRC Staff Member Richie Wladich with his colleague Rosy Tellez. about the disability community.” Rosy enjoys Feel free to contact Richie at (310)390- working with her former student. She finds 3611 ext. 257, or by email via richard@dcrc. it rewarding to know that he was able to co. share his experiences and to utilize what he’s learned to become such a great peer For more information about our Peer advocate. “He has been outstanding with the Specialist Training Class at DCRC, feel types of support he provides to our peers.” free to contact Rosy at (310)390-3611 ext. 230, or by email via [email protected]. Richie says that he always recommends people apply to take the PST Class. The PST Class helped prepare Richie to seize the opportunity when it presented itself and every day he is grateful to continue his work as a peer specialist: “Every day I get up, I get to come to a place where I know I can be of service to somebody. I’m really happy to be here.” We are also happy to have you here at the Center Richie! Inclusive Design: The Future of Gaming One of the workshops at the Abilities Expo Dog. He commented on his experience with in Los Angeles this year covered inclusive Uncharted 2, a previous game in the series. and accessible design in video games. Due to Josh’s limited dexterity related to The workshop featured Sam Thompson, a his disability, he could not press the buttons producer at Sony Interactive Entertainment rapidly enough during quick time events Worldwide Studios, Brian Allgeier, a game to reach the end of the game. Quick time designer at Insomniac Games, and Paul events are situations in a level where the Amadeus Lane, a gaming accessibility action slows down, prompting the player advocate. They had an open conversation to press a button, and requiring the player regarding game design. Lane started off by to rapidly press that button to advance in saying that “many gamers play video games the game. The team was moved by this as an escape. They want to play and have feedback and feedback from others in the fun.” He pointed out however, that certain disability community and so the developers barriers can disrupt gamers, especially acted on it. “To find out that a segment of people with disabilities, from enjoying a the population cannot experience a game is game. not ideal for any developer. We want games to be played and enjoyed by everybody. Thompson talked about an experience they And in order to do that we need to observe had in working with Naughty Dog, another accessibility more” explains Sam. Now, developer within Sony. Naughty Dog is at any point during the game, the player the primary developer in Uncharted 4, an has the option to change how quick time action-adventure game released for the events work in the accessibility menu. They PS4 in 2016. While this game was being can change it so simply holding the button developed, they learned that accessibility completes quick time events as opposed to needs to be built in the beginning of a rapid button presses. This approach was game’s development process. also added to game’s digitally rendered combat, allowing players to just hold down This was because a member of the disability the button to repeat certain actions instead community spoke up. Josh Straub, a fellow of rapidly pressing a button. designer in the gaming industry, reached out via social media to Sony and Naughty Allgeier described meeting Straub for the well. These sections are time consuming and challenging. Insomniac Games did not want to halt a gamer’s experience with the overall story if they could avoid it. They wanted to give the player as many options as they could. Other accessible design features include larger subtitles, having backdrops that are easier to see, and a difficulty labeled “Friendly Neighborhood” The Art of Inclusive Design Workshop. that makes the experience easier for all players. Allgeier stressed that with these first time. “We knew accessibility was simple design choices it made it easier for important, but it didn’t become real until all gamers to enjoy the game. Insomniac Josh visited the studio” explains Allgeier. Games wanted as many gamers to “It was an immediate impact where experience the joy of being Spider-Man to you understood how these features are the greatest extent possible. beneficial and how they can engage more people.” Getting the needed input from a Sony and other game developers in gamer with a disability impacted how these the gaming industry intend to include game companies would develop their games the disability community in the quality in the future. This demonstrates the power assurance (QA) testing process as well. of personal advocacy and its potential Quality Assurance is a part where gamers impact on the greater community. are paid to test out how a game functions toward the end of development, allowing a Marvel’s Spider-Man, an action-adventure developer to make changes before release. game developed by Insomniac Games At Sony’s booth on the Expo floor, they released for the PS4 in 2018, was developed explained they wanted to have QA testing with accessibility in mind.
Load more

Recommended publications
  • The Videogame Style Guide and Reference Manual
    The International Game Journalists Association and Games Press Present THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL DAVID THOMAS KYLE ORLAND SCOTT STEINBERG EDITED BY SCOTT JONES AND SHANA HERTZ THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL All Rights Reserved © 2007 by Power Play Publishing—ISBN 978-1-4303-1305-2 No part of this book may be reproduced or transmitted in any form or by any means – graphic, electronic or mechanical – including photocopying, recording, taping or by any information storage retrieval system, without the written permission of the publisher. Disclaimer The authors of this book have made every reasonable effort to ensure the accuracy and completeness of the information contained in the guide. Due to the nature of this work, editorial decisions about proper usage may not reflect specific business or legal uses. Neither the authors nor the publisher shall be liable or responsible to any person or entity with respects to any loss or damages arising from use of this manuscript. FOR WORK-RELATED DISCUSSION, OR TO CONTRIBUTE TO FUTURE STYLE GUIDE UPDATES: WWW.IGJA.ORG TO INSTANTLY REACH 22,000+ GAME JOURNALISTS, OR CUSTOM ONLINE PRESSROOMS: WWW.GAMESPRESS.COM TO ORDER ADDITIONAL COPIES OF THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL PLEASE VISIT: WWW.GAMESTYLEGUIDE.COM ACKNOWLEDGEMENTS Our thanks go out to the following people, without whom this book would not be possible: Matteo Bittanti, Brian Crecente, Mia Consalvo, John Davison, Libe Goad, Marc Saltzman, and Dean Takahashi for editorial review and input. Dan Hsu for the foreword. James Brightman for his support. Meghan Gallery for the front cover design.
    [Show full text]
  • Sony Corporation Announces Signing of a Definitive Agreement for the Acquisition of Equity Interest in Insomniac Games, Inc
    August 19, 2019 Sony Corporation Sony Corporation Announces Signing of a Definitive Agreement for the Acquisition of Equity Interest in Insomniac Games, Inc. by its Wholly-owned Subsidiary August 19, 2019 (Pacific Standard Time) – Sony Interactive Entertainment LLC (“SIE”), a wholly-owned subsidiary of Sony Corporation (“Sony”), today announced that SIE has entered into definitive agreements to acquire the entire equity interest in Insomniac Games, Inc. Completion of the acquisition is subject to regulatory approvals and certain other closing conditions. Financial terms of this transaction are not disclosed due to contractual commitments. For further details, please refer to the attached press release. This transaction is not anticipated to have a material impact on Sony's forecast for its consolidated financial results for the fiscal year ending March 31, 2020. SONY INTERACTIVE ENTERTAINMENT TO ACQUIRE INSOMNIAC GAMES, DEVELOPER OF PLAYSTATION®4 TOP-SELLING MARVEL’S SPIDER-MAN, RATCHET & CLANK ~Highly-acclaimed Game Creators to Join Sony Interactive Entertainment’s Worldwide Studios to Deliver Extraordinary Gaming Experiences~ SAN MATEO, Calif., August 19, 2019 - Sony Interactive Entertainment (“SIE”) announced today that SIE has entered into definitive agreements to acquire Insomniac Games, Inc. (“Insomniac Games”), a leading game developer and long-time partner of SIE, in its entirety. Insomniac Games is the developer of PlayStation®4’s (PS4™) top-selling Marvel’s Spider-Man and the hugely popular PlayStation® Ratchet & Clank franchise. Upon completion of the acquisition, Insomniac Games will join the global development operation of Sony Interactive Entertainment Worldwide Studios (“SIE WWS”). Insomniac Games is the 14th studio to join the SIE WWS family.
    [Show full text]
  • Magisterarbeit / Master's Thesis
    MAGISTERARBEIT / MASTER’S THESIS Titel der Magisterarbeit / Title of the Master‘s Thesis „Player Characters in Plattform-exklusiven Videospielen“ verfasst von / submitted by Christof Strauss Bakk.phil. BA BA MA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magister der Philosophie (Mag. phil.) Wien, 2019 / Vienna 2019 Studienkennzahl lt. Studienblatt / UA 066 841 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Magisterstudium Publizistik- und degree programme as it appears on Kommunikationswissenschaft the student record sheet: Betreut von / Supervisor: tit. Univ. Prof. Dr. Wolfgang Duchkowitsch 1. Einleitung ....................................................................................................................... 1 2. Was ist ein Videospiel .................................................................................................... 2 3. Videospiele in der Kommunikationswissenschaft............................................................ 3 4. Methodik ........................................................................................................................ 7 5. Videospiel-Genres .........................................................................................................10 6. Geschichte der Videospiele ...........................................................................................13 6.1. Die Anfänge der Videospiele ..................................................................................13
    [Show full text]
  • The Last of Us Day Photo Mode Contest 2020 OFFICIAL US and CANADA RULES by Participating in the Last of Us
    The Last of Us Day Photo Mode Contest 2020 OFFICIAL US AND CANADA RULES By participating in The Last of Us Day - Photo Mode Contest 2020 (the “Promotion”), each Entrant (or his or her parent or legal guardian if the Entrant is under the age of majority in his or her state of residence) unconditionally accepts and agrees to comply with and abide by these Official Rules and the decisions of Sony Interactive Entertainment LLC (“Sponsor”) which shall be final and binding in all respects. Sponsor is responsible for the collection and scoring of entries and the overall administration of the Promotion. Entrants should look solely to Sponsor with any questions, comments or problems related to the Promotion. 1. ELIGIBILITY: The Promotion is only open to legal residents of the 50 United States, the District of Columbia, excluding Arizona, and Canada, excluding Quebec, age 18 or older at time of entry (individually “Entrant”, collectively “Entrants”). Employees of Sponsor and its parent companies, affiliates, subsidiaries, and related companies, agencies, and the judging panel and immediate families (defined as parents, children, siblings and spouse and their respective spouses, regardless of where they reside) and those living in the same household, whether or not related, are not eligible to enter, win or vote. Void in Puerto Rico, all U.S. territories and possessions and overseas military installations and where prohibited or restricted by law. There is one (1) entry method: via Naughty Dog’s user-generated content submission page. Internet access is required to enter this Promotion. Entrants must have a copy of The Last of Us Part II with the Photo Mode tool.
    [Show full text]
  • Finding Aid to the Insomniac Games Records, 1998-2005
    Brian Sutton-Smith Library and Archives of Play Insomniac Games Records Finding Aid to the Insomniac Games Records, 1998-2005 Summary Information Title: Insomniac Games records Creator: Insomniac Games, Inc. (primary) ID: 119.6337 Date: 1998-2005 (inclusive) Extent: 2.1 linear feet Language: The materials in this collection are in English. Abstract: The Insomniac Games records are a compilation of game design documentation, including notes, descriptions, drawings, and more, for various games created by Insomniac Games. The materials are dated between 1998 and 2005. Repository: Brian Sutton-Smith Library and Archives of Play at The Strong One Manhattan Square Rochester, New York 14607 585.263.2700 [email protected] Administrative Information Conditions Governing Use: This collection is open for research use by staff of The Strong and by users of its library and archives. Though the donor has not transferred intellectual property rights (including, but not limited to any copyright, trademark, and associated rights therein) to The Strong, he has given permission for The Strong to make copies in all media for museum, educational, and research purposes. Intellectual property rights for this collection are owned and controlled by Insomniac Games, Sony Interactive Entertainment, and Activision. Custodial History: The Insomniac Games records were donated to The Strong in November 2019 as a gift of John Fiorito, Insomniac Games. The papers were accessioned by The Strong under Object ID 119.6337 and were received from Fiorito in 2 boxes. Preferred citation for publication: Insomniac Games records, Brian Sutton-Smith Library and Archives of Play at The Strong Processed by: Julia Novakovic, February 2020 Controlled Access Terms Personal Names • Chew, Jacinda • Fiorito, John • Hastings, Alex • Hastings, Brian • Price, Ted Corporate Names • Activision (Firm) • Insomniac Games, Inc.
    [Show full text]
  • The Impact of Multichannel Game Audio on the Quality of Player Experience and In-Game Performance
    The Impact of Multichannel Game Audio on the Quality of Player Experience and In-game Performance Joseph David Rees-Jones PhD UNIVERSITY OF YORK Electronic Engineering July 2018 2 Abstract Multichannel audio is a term used in reference to a collection of techniques designed to present sound to a listener from all directions. This can be done either over a collection of loudspeakers surrounding the listener, or over a pair of headphones by virtualising sound sources at specific positions. The most popular commercial example is surround-sound, a technique whereby sounds that make up an auditory scene are divided among a defined group of audio channels and played back over an array of loudspeakers. Interactive video games are well suited to this kind of audio presentation, due to the way in which in-game sounds react dynamically to player actions. Employing multichannel game audio gives the potential of immersive and enveloping soundscapes whilst also adding possible tactical advantages. However, it is unclear as to whether these factors actually impact a player’s overall experience. There is a general consensus in the wider gaming community that surround-sound audio is beneficial for gameplay but there is very little academic work to back this up. It is therefore important to investigate empirically how players react to multichannel game audio, and hence the main motivation for this thesis. The aim was to find if a surround-sound system can outperform other systems with fewer audio channels (like mono and stereo). This was done by performing listening tests that assessed the perceived spatial sound quality and preferences towards some commonly used multichannel systems for game audio playback over both loudspeakers and headphones.
    [Show full text]
  • Game-Tech-Whitepaper
    Type & Color October, 2020 INSIGHTS Game Tech How Technology is Transforming Gaming, Esports and Online Gambling Elena Marcus, Partner Sean Tucker, Partner Jonathan Weibrecht,AGC Partners Partner TableType of& ContentsColor 1 Game Tech Defined & Market Overview 2 Game Development Tools Landscape & Segment Overview 3 Online Gambling & Esports Landscape & Segment Overview 4 Public Comps & Investment Trends 5 Appendix a) Game Tech M&A Activity 2015 to 2020 YTD b) Game Tech Private Placement Activity 2015 to 2020 YTD c) AGC Update AGCAGC Partners Partners 2 ExecutiveType & Color Summary During the COVID-19 pandemic, as people are self-isolating and socially distancing, online and mobile entertainment is booming: gaming, esports, and online gambling . According to Newzoo, the global games market is expected to reach $159B in revenue in 2020, up 9.3% versus 5.3% growth in 2019, a substantial acceleration for a market this large. Mobile gaming continues to grow at an even faster pace and is expected to reach $77B in 2020, up 13.3% YoY . According to Research and Markets, the global online gambling market is expected to grow to $66 billion in 2020, an increase of 13.2% vs. 2019 spurred by the COVID-19 crisis . Esports is projected to generate $974M of revenue globally in 2020 according to Newzoo. This represents an increase of 2.5% vs. 2019. Growth was muted by the cancellation of live events; however, the explosion in online engagement bodes well for the future Tectonic shifts in technology and continued innovation have enabled access to personalized digital content anywhere . Gaming and entertainment technologies has experienced amazing advances in the past few years with billions of dollars invested in virtual and augmented reality, 3D computer graphics, GPU and CPU processing power, and real time immersive experiences Numerous disruptors are shaking up the market .
    [Show full text]
  • The Last of Us Honored with 10 Awards Including Game of the Year at 17Th Annual D.I.C.E
    THE LAST OF US HONORED WITH 10 AWARDS INCLUDING GAME OF THE YEAR AT 17TH ANNUAL D.I.C.E. AWARDS Top Honors Celebrating the Creative Accomplishments in Interactive Entertainment Also Went to Bioshock Infinite, Grand Theft Auto V, Plants vs. Zombies 2, and More LAS VEGAS – Feb. 6, 2014 – Suspense, horror, and surreal worlds dominated the 17th Annual D.I.C.E. Awards, the video game industry’s most prestigious honors. Naughty Dog’s dystopian, post-apocalyptic reimagining of the zombie thriller, The Last Of Us, stole the show with 10 awards, including Outstanding Achievement in Story, Outstanding Innovation in Gaming, Adventure Game of the Year, Outstanding Achievement in Game Direction and the industry’s top honor, Game of the Year. The evening’s other big winners included Irrational Games’ provocative alternate-historical FPS, Bioshock Infinite, which took home Action Game of the Year and Outstanding Achievement in Original Music Composition. PopCap’s runaway mobile hit Plants vs. Zombies 2 won both Casual Game of the Year and Mobile Game of the Year, while EA Canada’s FIFA 14 continued the FIFA franchise’s run of five consecutive wins with Sports Game of the Year. Brothers – A Tale of Two Sons, Starbreeze Studios’ touching, story-driven adventure, took home the hardware for Downloadable Game of the Year. Wargaming’s multiplayer online game World of Tanks took home the honor for the D.I.C.E. Awards’ newest category, Online Game of the Year. “Tonight’s big winner, The Last of Us, is a prime example of how today’s modern video game studios expertly blend art, game play, and storytelling to transcend the traditional notion of video games,” said Martin Rae, president, Academy of Interactive Arts & Sciences.
    [Show full text]
  • Game Developer
    ANNIVERSARY10 ISSUE >>PRODUCT REVIEWS TH 3DS MAX 6 IN TWO TAKES YEAR MAY 2004 THE LEADING GAME INDUSTRY MAGAZINE >>VISIONARIES’ VISIONS >>JASON RUBIN’S >>POSTMORTEM THE NEXT 10 YEARS CALL TO ACTION SURREAL’S THE SUFFERING THE BUSINESS OF EEVERVERQQUESTUEST REVEALEDREVEALED []CONTENTS MAY 2004 VOLUME 11, NUMBER 5 FEATURES 18 INSIDE EVERQUEST If you’re a fan of making money, you’ve got to be curious about how Sony Online Entertainment runs EVERQUEST. You’d think that the trick to running the world’s most successful subscription game 24/7 would be a closely guarded secret, but we discovered an affable SOE VP who’s happy to tell all. Read this quickly before SOE legal yanks it. By Rod Humble 28 THE NEXT 10 YEARS OF GAME DEVELOPMENT Given the sizable window of time between idea 18 and store shelf, you need to have some skill at predicting the future. We at Game Developer don’t pretend to have such skills, which is why we asked some of the leaders and veterans of our industry to give us a peek into what you’ll be doing—and what we’ll be covering—over the next 10 years. 36 28 By Jamil Moledina POSTMORTEM 32 THE ANTI-COMMUNIST MANIFESTO 36 THE GAME DESIGN OF SURREAL’S Jason Rubin doesn’t like to be treated like a nameless, faceless factory worker, and he THE SUFFERING doesn’t want you to be either. At the D.I.C.E. 32 Before you even get to the problems you typically see listed in our Summit, he called for lead developers to postmortems, you need to nail down your design.
    [Show full text]
  • Producing Adaptive Music for Non-Linear Media
    PRODUCING ADAPTIVE MUSIC FOR NON-LINEAR MEDIA Lassi Kähärä Bachelor’s thesis May 2018 Degree Programme in Media & Arts Music Production ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Degree Programme in Media & Arts Music Production Lassi Kähärä: Producing Adaptive Music for Non-Linear Media Bachelor's thesis 42 pages May 2018 As non-linear media such as videogames and interactive applications are getting more popular each year and interactivity is being implemented into other media, a need for non-linear adaptive music is growing. Traditionally a linear medium, music, needs to adapt to the actions the user decides to take in these interactive experiences. Adaptivity has been a vital part of videogame scores for years, but the techniques are shifting as new ways to compose and implement music for videogames are being developed con- stantly. In the thesis history of adaptive music, techniques non-linear music composers, adaptive music techniques and means of implementation were discussed and compared with ex- amples. A comprehensive look into the various possibilities of composition and imple- mentation of score music for videogames was given. A score for a virtual reality puzzle game was composed and implemented utilizing Ableton Live and Audiokinetic Wwise software to create an immersive and adaptive score. The combination of Live and Wwise worked well together, supporting the adap- tive fashion of the game score. Using Wwise was a learning experience and through experimentation and testing an interactive music system suitable for the project was created. Key words: adaptive music, videogame music, interactive music, audiokinetic wwise, ableton live CONTENTS 1 INTRODUCTION ......................................................................................................
    [Show full text]
  • Richard Epcar Voice Over Resume
    RICHARD EPCAR VOICE OVER RESUME ADR DIRECTOR / ORIGINAL ANIMATION DIRECTOR / GAME DIRECTOR ADR WRITER / ENGLISH ADAPTER INTERNATIONAL DUBBING SUPERVISOR 818 426-3415 VOICE OVER REPRESENTATION: (323) 939-0251 VOICE ACTING RESUME GAME VOICE ACTING ARKHAM ORIGINS SEVERAL CHARACTERS WB INJUSTICE: GODS AMONG US THE JOKER WB INFINITE CRISIS THE JOKER WB MORTAL KOMBAT X RAIDEN WARNER BROS. FINAL FANTASY XIV 2.4-2.5 ILBERD ACE COMBAT ASSAULT HORIZON LEGACY STARGATE SG-1: UNLEASHED GEN. GEORGE HAMMOND MGM SAINTS ROW 4 LEAD VOICE (CYRUS TEMPLE) VOICEWORKS PRODS MARVEL HEROS SEVERAL VOICES MARVEL THE BUREAU: XCOM DECLASSIFIED LEAD VOICE TAKE 2 PRODS. BLADE STORM NIGHTMARE NARRATOR ULTIMATE NINJA STORM 3 LEAD VOICE NARUTO VG LEAD VOICE STUDIPOLIS CALL OF DUTY- BLACK OPS II SEVERAL VOICES EA RESIDENT EVIL 6 MO-CAPPED THE PRESIDENT ACTIVISION SKYRIM- THE ELDER SCROLLS V LEAD VOICES BETHESDA (BEST GAME OF THE YEAR 2011-Spike Video Awards) KINGDOM HEARTS: DREAM DROP DISTANCE LEAD VOICE SQUARE ENIX / DISNEY FINAL FANTASY XIV LEAD VOICE (GAIUS VAN BAELSAR) SQUARE ENIX MAD MAX SEVERAL VOICES DEAD OR ALIVE 5 LEAD VOICE VINDICTUS LEAD VOICE TIL MORNING’S LIGHT LEAD VOICE WAY FORWARD POWER RANGERS MEGAFORCE LEAD VOICES BANG ZOOM FINAL FANTASY XIII.3 LEAD VOICE GUILTY GEARS X-RD LEAD VOICE SQUARE ENIX YOGA Wii LEAD VOICE GORMITI LEAD VOICE EARTH DEFENSE FORCE LEAD VOICE 1 ATELIER AYESHA LEAD VOICE BANG ZOOM X-COM: ENEMY UNKNOWN LEAD VOICE TAKE 2 PRODS. OVERSTRIKE LEAD VOICE INSOMNIAC GAMES DEMON’S SCORE LEAD VOICES CALL OF DUTY BLACK OPS LEAD VOICES EA TRANSFORMERS
    [Show full text]
  • "Playstation®2 Ratchet & Clank™ Action Pack"(Pdf)
    SONY COMPUTER ENTERTAINMENT TO RELEASE "PLAYSTATION®2 RATCHET & CLANK™ ACTION PACK" To Become Available on December 3rd at A Suggested Retail Price of 26,800 Yen Tokyo, November 18, 2002 – Sony Computer Entertainment Inc. (SCEI) announced today that it would release “PlayStation®2 Ratchet & Clank™ Action Pack” on December 3rd, 2002. This pack will contain a PlayStation 2 hardware and a PlayStation 2 software “Ratchet and Clank” and will be sold at a suggested retail price of 26,800 Yen (excluding tax). PlayStation 2 has been supported by a wide range of users, achieving a cumulative shipment of more than 11 million units in Japan and 45 million units worldwide. “Ratchet & Clank”, the standard of action games that represents the PlayStation 2 platform, will be released worldwide commemorating the 8th anniversary of PlayStation® since its first launch in Japan. In North America and Europe, it has already become a major hit title, with shipments reaching almost 1 million units in a week after release. In Japan, along with the “Action Pack”, the title will become available as a standalone product on December 3rd at a suggested retail price of 5,800 Yen (excluding tax). This spectacular action game illustrating the exciting and amusing adventures of the main character “Ratchet” and its partner “Clank”, is developed exclusively for PlayStation 2 by Insomniac Games, the creative team of the “Spyro the Dragon™” franchise, whose combined worldwide sales have reached more than 10 million units. This highly appealing “PlayStation 2 Ratchet & Clank Action Pack” comes in a blue box with pictures of unique characters and various action scenes shown on it, giving users a sense of excitement of the game.
    [Show full text]