Gambling revenue is a tax society can do without
The News Review:
- Gambling revenue is a tax society can do without
- I-empire Burlesque
- GDC 2008: The Crysis f Audio
Gambling revenue is a tax society can do without
The Age – Feb 20, 2008
None of these people around me punching thepokies has walked in here today expecting to be a loser. Despiteknowing that these machines are programmed to make losers of themthey each feel as if they’re the lucky one. They are mesmerised bythe pretty lights the dark windowless roomand the electronic music. Their basic instincts have beenmanipulated by thousands of dollars of interior design flashinglights and electronic music researched and proven to separatepeople at their weakest from their money. Their faces don’t lookhappy beautiful or wealthy. Gambling is theft and deception.
I-empire Burlesque
Cleveland Free Times – Feb 20, 2008
"The two albums together form a distillation of DeLonge's various musical interests. While he describes himself as a "modern rock kid" he also cites Peter Gabriel the Who and the Cure as influences. He's a fan of contemporary punk and likes electronic music too. " I like some [electronic music] a lot" he explains. "Underworld from the UK was really influential. There's a great architecture of sound to their music. I like DJ Shadow and Thievery Corporation.
GDC 2008: The Crysis f Audio
Gamasutra – Feb 20, 2008
“We actually stole this tech from our animators” Neumann admitted. Zur introduced himself: “the way I see music is the emotional and dramatic tool to drive the game” and explained that he had “quite a challenge in Crysis” with three factions the US Koreans and aliens all requiring their own quite clashing scores. He described his choices: a traditional military score for the US a more traditional eastern score for the Koreans and with the aliens rather than go for the obvious decision to use electronic music he decided to use “weird string effects” to create an alien sound. Zur explained he combined scores to create a backdrop for conflicts: with a battle between the US and the Koreans for example a bombastic military sound with touches of flutes. In game with battles moving between levels of intensity Zur created three cues that the game could crossfade soft music for exploring the levels speeding for initial encounters before exploding into a full action score in massive battles. Though the demonstration felt seamless Zur said that they chose to hide these transitions behind sound effects wherever possible so it would never jar the player. Physical AmbienceAmbient sound effects were created by marking areas across the map for ambient sounds with certain areas overlapping or being inside each other with levels of priority based on the player’s location.
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