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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. -
Alexander Popov Is One of the Few Russian Music Producers and Djs Well Known in the World. IDMA Nominie, He Is an Artist of the Dutch Record Label Armada Music
Alexander Popov is one of the few Russian music producers and DJs well known in the world. IDMA nominie, he is an artist of the Dutch record label Armada Music. Within the last two years he has released three compilations, made a few music videos and released his debut album titled “Personal Way”. One of the tracks from this album - collaboration with Dash Berlin and Jonathan Mendelsohn called "Steal You Away" was nominated for the international award IDMA in Miami as the best trance track in 2014, official music video for this track has collected more than 3 500 000 views on Youtube and got in rotation on MTV UK. His latest singles "Multiverse", "Quantum", "Lost Language" have reached TOP 3 on Beatport and are regularly supported by the best world DJ's. Alexander has collaborations with top EDM artists: Dash Berlin, Cosmic Gate, Andrew Rayel, to name a few. For the last few years he has visited more than 40 countries and has regular tours on the best stages of Europe and Asia, at the events like 'A State Of Trance', 'Global Gathering', 'Electronic Family', 'Coloursfest', 'ADE' and played in the world best clubs: 'Ushuaia Ibiza', 'Privilege', 'Space' and many more. Between studio and gigs he also has a weekly podcast and radioshow called 'Interplay' on Radio Record, every Thursday at 20:00 CET. Armin Van Buuren: “Alexander Popov – absolutely one of my favorite producers at the moment” Video: http://www.youtube.com/watch?v=AuJvJcg3Ejw http://www.youtube.com/watch?v=NUHijduVwPk http://www.youtube.com/watch?v=wQM0QOPV5WM: http :// www . -
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. -
Malcolm Chisholm: an Evaluation of Traditional Audio Engineering
Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2013 Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul Linden Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Audio Arts and Acoustics Commons, and the Communication Technology and New Media Commons Recommended Citation Linden, Paul, "Malcolm Chisholm: An Evaluation of Traditional Audio Engineering" (2013). Scholarship and Professional Work - Communication. 137. https://digitalcommons.butler.edu/ccom_papers/137 This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Journal of the Music & Entertainment Industry Educators Association Volume 13, Number 1 (2013) Bruce Ronkin, Editor Northeastern University Published with Support from Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul S. Linden University of Southern Mississippi Abstract The career of longtime Chicago area audio engineer and notable Chess Records session recorder Malcolm Chisholm (1929-2003) serves as a window for assessing the stakes of technological and cultural develop- ments around the birth of Rock & Roll. Chisholm stands within the tradi- tional art-versus-commerce debate as an example of the post-World War II craftsman ethos marginalized by an incoming, corporate-determined paradigm. Contextual maps locate Chisholm’s style and environment of audio production as well as his impact within the rebranding of electri- fied Blues music into mainstream genres like Rock music. -
Armin Van Buuren Intense Album 320Kbps
Armin Van Buuren Intense Album 320kbps Armin Van Buuren Intense Album 320kbps 1 / 4 2 / 4 Artist: Armin van Buuren Label: Armind Released: 2016-06-09 Bitrate: 320 kbps ... Emma Hewitt Label: Armada Released: 2013 Bitrate: 320 kbps Style: ... Title: Armin van Buuren – Intense The Most Intense Edition Album Download Release…. Armin van Buuren - A State Of Trance 638 (07.11.2013) 320 kbps ... "The Pete Tong Collection" is a x60 track, x3 CD compilation of the biggest & best, house ... Buuren Title: A State Of Trance Episode 639 "The More Intense Exclusive Special". Here you can buy and download music mp3 Armin van Buuren. ... Jul 23, 2020 · We rank the best songs from their five albums. mp3 download mp3 songs. ... Gaana, 320kbps, 128kbps, Mehrama (Extended) MP3 Song Download, Love Aaj Kal ... Nov 08, 2020 · The extended metaphor serves to highlight Romeo's intense ... By salmon in A State of Trance - Episode 610 - 320kbps, ASOT Archive · asot 610. Tracklist: ... van Buuren feat. Miri Ben Ari – Intense (Album Version) [Armind] 03. ... Armin van Buuren – Who's Afraid of 138?! (Extended mix) .... All Torrents. Armin Van Buuren. Armin van Buuren presents A State of Trance 611. Armin van Buuren - Intense (Album) (320kbps) (Inspiron) .... This then enables you to get hundreds of songs on to a CD and it also has opened up a new market over the ... Artist: Arashi Genre: J-Pop File Size: 670MB Format: Mp3 / 320 kbps Release Date: Jun 26, 2019. ... Ninja Arashi is an intense platformer with mixed RPG elements. ... 2018 - Armin van Buuren - Blah Blah Blah.. ASOT `Ep. -
Richard Aldag Broadway Boogie-Woogie
RICHARD ALDAG BROADWAY BOOGIE-WOOGIE 9 My lover asks [1:58] Marnie Breckenridge, soprano | Jennifer Kloetzel, cello Hadley McCarroll, piano RICHARD ALDAG Duo for Flute & Violin (2017) TROY1764 10 Allegro ma non troppo [2:24] 11 Presto [1:37] 1 Fantasy for Flute, Piano & Percussion (2015) [11:00] 12 Affettuoso [2:53] Gina Gulyas, flute | Ian Scarfe, piano 13 Vivace [2:39] Divesh Karamchandani, percussion Gina Gulyas, flute | Rachel Patrick, violin Due Celli (2013) 14 Romance for Cello & Piano (2015) [5:43] 2 Toccata: Calmly, vivo [3:23] Jennifer Kloetzel, cello | Hadley McCarroll, piano 3 Aria: Lento e cantabile [3:32] 4 Saltarello: Presto con fuoco [2:01] 15 Lacrimosa for String Quartet (2016) [7:22] Jean-Michel Fonteneau, cello | Jennifer Kloetzel, cello Chamber Music Society of San Franciso Jory Fankuchen, violin | Natasha Makhijani, violin Nocturne & Dance (2014) Clio Tilton, viola | Samsun van Loon, cello 5 Nocturne [6:42] 6 Dance [5:22] 16 Serenade for Chamber Ensemble Matthew Boyles, clarinet | Rachel Patrick, violin “Broadway Boogie-Woogie” (1991, rev. 2014) [9:05] Ian Scarfe, piano Gina Gulyas, flute | Matthew Boyles, clarinet Rachel Patrick, violin | James Jaffe, cello Arab Love Songs (2015) Ian Scarfe, piano | Divesh Karamchandani, percussion 7 Oh, my love [2:37] Andy Meyerson, percussion | Richard Aldag, conductor [3:14] 8 I am no teacher Total Time = 71:12 TROY1764 WWW.ALBANYRECORDS.COM TROY1764 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2019 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. -
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 -
2. Case Study: Anime Music Videos
2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose. -
A DAY in the LIFE of GEOFF EMERICK Geoff Emerick Has Recorded Some of the Most Iconic Albums in the History of Modern Music
FEATURE A DAY IN THE LIFE OF GEOFF EMERICK Geoff Emerick has recorded some of the most iconic albums in the history of modern music. During his tenure with The Beatles he revolutionised engineering while the band transformed rock ’n’ roll. Text: Andy Stewart To an audio engineer, the idea of being able to occupy was theoretically there second visit to the studio). On only Geo! Emerick’s mind for a day to personally recall the his second day of what was to become a long career boxed recording and mixing of albums like Revolver, Sgt. Pepper’s inside a studio, Geo! – then only an assistant’s apprentice – Lonely Hearts Club Band and Abbey Road is the equivalent of witnessed the humble birth of a musical revolution. stepping inside Neil Armstrong’s space suit and looking back From there his career shot into the stratosphere, along with at planet Earth. the band, becoming "e Beatles’ chief recording engineer Many readers of AT have a memory of a special album at the ripe old age of 19; his $rst session as their ‘balance they’ve played on or recorded, a live gig they’ve mixed or a engineer’ being on the now iconic Tomorrow Never knows big crowd they’ve played to. Imagine then what it must be o! Revolver – a song that heralded the arrival of psychedelic like for your fondest audio memories to be of witnessing "e music. On literally his $rst day as head engineer for "e Beatles record Love Me Do at the age of 15 (on only your Beatles, Geo! close–miked the drum kit – an act unheard second day in the studio); of screaming fans racing around of (and illegal at EMI) at the time – and ran John Lennon’s the halls of EMI Studios while the band was barricaded vocals through a Leslie speaker a#er being asked by the in Studio Two recording She Loves You; of recording the singer to make him sound like the ‘Dalai Lama chanting orchestra for A Day in the Life with everyone, including the from a mountain top’. -
Need for the Audio Engineering Society
Reprinted by permission from the Journal of the Audio Engineering Society, Vol. 27:9 (7973 Nov), pp 766, 768. This editorial appeared in "Audio Engineer- ing" (now "Audio") in its March 1948 issue and was pre- pared by the then Organization Committee for the forma- tion of the Audio Engineering Society. The Committee was comprised of John D. Colvin, C. J. LeBel, C. G. McProud, Norman C. Pickering and Chester 0. Rackey. (Mr. LeBel died in 1966 and Mr. Rackey in 1973.) NEED FOR THE AUDIO ENGINEERING SOCIETY ngineers engaged in the field of audio are generally material and actual practice is so great as to be in- E agreed that there is a definite advantage to a pro- credible to one not actually in this field. fessional society as a means of disseminating information 4. Tape and wire recording: The research aspect has and promoting intelligent study of the problems per- been covered in rhe literature, but here again there is taining to their interests, but there has been considerable a big differenoe between the published information and doubt that their fidd has been covered adequately. Audio actual engineering practice. engineering has been on the fringes of three existing so- 5. Hearing aids: Published information has not kept cieties withol~tactually being the central interest of any pace with engineering design practice. It is possible that one of them. Because of this, there has been sporadic this is due to the secrecy of a new art, but it may also discussion concerning the formation of a new profes- be due to lack of encouragement of engineering papers. -
Engineers Throughout Jazz History
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2017 Engineers Throughout Jazz History Alex Declet California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Recommended Citation Declet, Alex, "Engineers Throughout Jazz History" (2017). Capstone Projects and Master's Theses. 101. https://digitalcommons.csumb.edu/caps_thes_all/101 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Declet 1 Alex Declet Prof. Sammons MPA 475: Capstone Engineers in Jazz Most of the general public do not know how much goes into the music making process as an engineer. Historically, with devices such as the phonograph, gramophone and early analog tape there was a push to get more audio out to the masses and engineers went from a documentary state of recording to a qualitative state. With technology like the record player, audiences had easy ways of accessing and listening to music in their own homes. The public even today buys physical or digital albums without taking a good look at who or what was involved in the process of making the album complete and ready to sell. The innovative minds in the recording industry, hidden in the liner notes of the albums, were engineers like Rudy Van Gelder, Frank Laico, and Tom Dowd just to name a few. -
Ilhiiiletter 93024--O24-O April 1997 I Vol
P.(). BOX 24-O Ojai, Calif. ilhiiiletter 93024--O24-O April 1997 i Vol. I6 No. 4 pubescent life forms, I truly believe it will be the Harry Allens Other Voices who carry the important message forward. Richard M. Sudhalter, Southold, New York Congratulations on your piece OfMs and Men and the discussion Cornetist Sudhalter was at one time a European correspondent of ebonics. for UPI. He is the co-author of a biography of Bix Beiderbecke And I all but jumped for joy on reading the profile on Julie La and is completing a new study ofjazz history Rosa. First, because he’s a singer I admire and of whom I’m very fond. But there’s another dimension to it as well. While your two-part article While Ibu Wereni Watching has The ongoing feminization of America has vandalized a number your usual clarity ofthought and meticulous structure, it leaves the of usefiil distinctions. Among them seem to be clear understanding reader who accepts your premises the choice of responding with Ehe specific essences brought to the table by male and female. impotent despair or with a fatalistic shrug and a tum to more never subscribed to the concept of interchangeable “gender pleasant topics. Yet neither of these responses is constructive; they roles” by which either sex can discharge the fimctions historically only drive the ethos of the artistically educated fiirther toward performed by the other. I’ve always felt that the polarity itself being a marginalized, self-pitying, backward-looking tribe of (with all the infinite intemal gradations) was invaluable, offering elitists.