Orr remained on Madden, improving the game every year with new graphical features, smarter AI, and updated stats. The franchise stayed excellent as it moved from two dimensions into three and the sheer number of critical awards and sales numbers that stack up every year attest to that.
Though Orr's team has grown from a handful of passionate fans to an army of more than 30 developers and a dozen designers, Madden NFL hasn't lost its step and remains the best-selling videogame series in North America for a reason: passion. But Orr's ambitions didn't stop at the gridiron.
EA Sports is a huge brand now, offering gamers a diverse amount of quality sports titles, and Orr helped start and maintain that trend with his work on Madden and other franchises. But it was his collaboration in with Hirokazu Yasuhara and Naoto Oshima on Sonic the Hedgehog that would propel him to true superstardom. For years, Nintendo's designers were challenged by Naka's highly competitive interpretation of genres the Big N had previously dominated, and by a number of reinventions of the Sonic character that took him into worlds beyond the standard platformer.
It could and has been argued that without Naka's many contributions to the creation and continuation of the Sonic the Hedgehog franchise, that SEGA would be a much different company than it is today. Naka's new studio is partly funded by SEGA, who has automatic first publishing rights which it has exercised with Prope's first projects -- the acclaimed Wii-exclusive rhythm title Let's Tap and the virtual "catch simulator" appropriately named Let's Catch. Earlier this year, Naka told us in a one-on-one interview that "Being the father of Sonic and being involved with him for 15 years [leaves me] very attached and fond of him still.
The same could be said of how the games industry feels about Mr. Naka's contributions to our craft. Many, many developers will work their whole lives and never build up the kind of credibility or attention that the folks on our list have garnered. Fumito Ueda did it with the first game he directed -- which incidentally, was only the second game he'd worked on the first being an animator on Kenji Eno's Enemy Zero.
How's that for success? Of course, when your first game as director is Ico, it's a little understandable that people would come to look at you as a wunderkind. Ueda's knack for creating atmospheric puzzle playgrounds with mute or near-mute characters instills a sense of isolation, yet provides an endearing feeling of hope as the protagonists seek simply to find an exodus or redemption from their weather-worn, ornate prisons. Ico, a project that started first on the original PlayStation but eventually moved to the PS2, created a world that would serve as a foil for Ueda and his team's follow-up, Shadow of the Colossus.
Again combining a character that had no dialogue with a world beaten and desolate that was populated only by a series of lumbering, interactive puzzles, Shadow made for an intensely memorable experience, and one that's gone on to inspire more than a few other developers since.
In just two games, Ueda has given "Team Ico" the kind of freedom within Sony that development teams can only dream of, rivaled only by Polyphony Digital's Kazunori Yamauchi, despite the two Team Ico games selling a fraction of what Gran Turismo has banked. Still, when one can prove themselves so readily in such a short amount of time, it gives both publisher and fans alike reason to expect great things in the future, which is precisely why the whole industry is bracing for the eventual reveal of Ueda and Team Ico's PlayStation 3 project.
Regarded by some as the current mastermind of real-time graphics, and the counterpart to id Software's John Carmack, graphics guru Tim Sweeney has had a gargantuan impact on the gaming world. Aside from designing and programming games such as ZZT and Jill of the Jungle in the early 90's, Sweeney wrote the original Unreal Engine for use in the first-person shooter Unreal.
This landmark introduced breakthrough technologies that included dynamic colored lighting, volumetric fog, and real-time 3D level-building tools. Consequently it became the basis of games across the PC platform and multiple videogame consoles. Sweeney has gone on to direct Epic's engine development through the current generation of gaming, where Unreal Engine 3 has garnered the support of many of the gaming industry's heavy-hitting companies Atari, Capcom, Konami, and Square-Enix to name a few and is now powering everything from the tactical shooters Gears of War 2 and Rainbow Six 6 Vegas to the turn-based RPG Lost Odyssey.
I expect that youll see games shipping with Unreal Engine 3 inand may be even a year after that For games that begin shipping inwell have Unreal Engine 4, whatever that is, with a major new architecture and major new feature set, and there youll see significant changes Whatever those significant changes are, we can only imagine.
However, thanks to Tim Sweeney's extraordinary contributions, we know that those changes will continue to revolutionize the look of games for years to come. Known in several circles as the "John Williams of videogame music," Nobuo Uematsu is widely considered Tender (The Final Story) - The Psychonauts* - Time Machine (CD) of the best composers in gaming history.
A self-taught musician, Uematsu-san began working for SquareSoft inwhen an acquaintance and part-time Square employee offered him a job creating music for the game known as Genesis. His work on the score was good enough to land him a full-time position as part of Square's composing team, where he scored several games for the NES and Famicom Disc Systems while working part-time at a music rental store.
Inhe met Hironobu Sakaguchi and agreed to compose the music for a game that would either make or break the entire company, which was on the verge of bankruptcy; that game was Final Fantasy.
Final Fantasy's soundtrack gained attention for its distinctive melodies and unique style. Following the game's success, Square hired Uematsu-san as the composer for the next installment in the franchise. He remained in that position for over a decade, writing the music for the IP's first ten titles. Uematsu's music has had a massive impact on videogame soundtracks. He continues to compose music for Square-Enix as a freelancer, as well as for Hironobu Sakaguchi's company, Mistwalker.
Ed Logg has had such a long and storied history with arcade games that it's hard not to love the guy's persistence. When Atari broke off into separate arcade and home units, and spun off its home conversions under the Tengen name, Logg went along with it, helping to craft the home versions of not only his existing arcade projects, but a handful of others as well -- including a little game called Tetris that became the source of a bitter, protracted battle between parties that all felt they'd licensed the game properly and thus owned the exclusive rights, with Logg privy to but not entirely involved in the bulk of it.
Eventually Tengen would go on to create unlicensed games for the NES. Logg's tenure with Tengen and what was originally dubbed Atari Games was extensive, riding out one of the most convoluted series of exchanges of ownership, bids by former heads including original Atari founder Nolan Bushnelland company name changes and reversals due to legal issues ever. Long before World of Warcraft redefined the definition of "popular" among massively multiplayer online role-playing games, yet far enough removed from early efforts like Meridian 59 or The Realm or even Ultima Online, there was EverQuest.
McQuaid and Smedley happened to be at the center of what would be a perfect storm for the then-budding MMO scene. When EverQuest essentially put the barely-formed or at least named Verant Interactive on the map, only to have the fairly new Sony Online Entertainment happily gobble them up, it was McQuaid who would guide things at least for a time as Chief Creative Officer with Smedley serving as head of the studio.
Though Vanguard was to be originally published by Microsoft, eventually Sigil bought back the rights and re-negotiated a deal a bit closer to home by having SOE publish the game, effectively reuniting Smedley and McQuaid for a time. Neither Sony Online Entertainment nor Sigil Studios have managed to recapture the attention and success of the early days of the original EverQuest, though SOE under Smedley has shipped a number of massively multiplayer online games since.
Whatever modern-day results may come, the partnership between John Smedley and Brad McQuaid did, in a very real sense, pave the way for future MMOs, making them genuine figureheads of what is now a billion dollar business. If you're going to put in the hard hours at a company, the list of prospects better than Blizzard Entertainment isn't terribly long.
Some might even say the house that Warcraft, StarCraft and Diablo built is at the top of that list, which probably explains why Bill Roper has spent so much of his career there building those aforementioned titles -- in particular the latter one as part of the Blizzard North team.
Roper's extensive history, not surprisingly, shares a very common Tender (The Final Story) - The Psychonauts* - Time Machine (CD) of role-playing games, but then that's always been Blizzard's bread and butter. After handling a myriad of audio duties ranging from composition to voice work on some of Blizzard's earliest titles, Roper quickly began to wear quite a few hats, ranging from scriptwriting to manual design to, eventually, a production and oversight role with subsequent entries in Blizzard's flagship series.
Fittingly, when he left the company to start his own, christening it Flagship Studios which would only release Hellgate: London before closing its doorsmost of the RPG experience would come to be something of an asset. Even after Flagship was shut down, Roper quickly found a home at Cryptic Studios working on Champions Online, and plying much of his considerable experience with the genre into future products.
Oft times serving as a figurehead and company spokesperson in addition to his normal development duties, Roper continues to be a public face for the products he works on. Given his humble beginnings at a then smallish dev house with a chilly name, that's not a bad way to make a living. Bleszinski's work impressed Sweeney, and development on his own original project, "Dare to Dream" began. Tender (The Final Story) - The Psychonauts* - Time Machine (CD) the development process, Bleszinksi became more involved in the company, providing critical feedback on the other games being worked on at the time.
Though Dare to Dream didn't achieve the success Epic had hoped, Bleszinksi eventually made his mark by crafting the hit Jazz Jackrabbit. He went on to become a key visionary in Epic's already-established Unreal franchise, shifting the direction of the series from a story-driven, single-player FPS Tender (The Final Story) - The Psychonauts* - Time Machine (CD) a more action-oriented, multiplayer experience.
Following the continued success of the Unreal games, Bleszinski was promoted to Epic's lead developer, and began work on a new IP. Inthe Xbox exclusive shooter Gears of War was an absolute smash -- receiving numerous honors including the coveted "Game of the Year" award by several publications and the distinction of being the fastest selling videogame of with sales of over 2 million copies in six weeks. Two years later -- and after making numerous tweaks to the engine -- Gears of War 2 was released and once again, Bleszinksi's gritty, testosterone-packed tactical shooter received critical and commercial acclaim.
Now that Bleszinksi has truly established his place in the gaming industry, he wishes to retire the CliffyB moniker, saying that it's "time to grow up a bit.
As the original creator of Grand Theft Auto a game he'd originally dubbed Race-n-Chase before the Houser brothers opted to give it an arguably more fitting nameDavid Jones can be quite easily credited with providing one of the biggest franchises in videogame history with a core tenet. After scooting through his first year of collegiate coursework in his native Scotland, Jones decided to use his free time to begin building games, channeling the lessons learned in school into what would eventually become Lemmings for then-independent publisher Psygnosis which would later be gobbled back up by Sony.
Whipping up Direct Mind Access Design as a development house inhe began cranking out a number of titles for the publisher, but it wasn't until he pitched what would eventually become the first GTA that he struck gold. Though he left DMA Design about 10 years after forming it and just before GTA2 shipped, selling it to Gremlin Interactive which was in turn bought by Infogrames in the process, Jones hasn't really been hurting for ideas. He joined Rage Software as Studio Manager until Rage folded, then created Realtime Worlds in and quickly went to work fleshing out his own ideas for an open world playground that eventually became Crackdown, earning it a rather prestigious Best Debut Award at the Game Developers Choice Awards.
His next title, All Points Bulletin, looks to take many of those early sandbox concepts online, though the release of the game has slipped a few times and the only confirmed platform as of now is the PC. Though he cut his teeth on Hardball II and Test Drive 2 for Accolade, it's safe to say that Chris Taylor already made a name for himself by the time he'd started work on his fourth game, Total Annihilation: a real-time strategy game that used undulating terrain more than sheer troop numbers to help determine strategy.
It was the first game for the then-fledgling development house Cavedog and the only series it would release before eventually folding about five years after being founded. Two years prior, Taylor left Cavedog and founded his own company, Gas Powered Games, setting to work on a slightly different kind of game at least at first : a top-down dungeon crawler dubbed Dungeon Siege.
It was quickly picked up by Microsoft, which would go on to publish the expansion and sequel. But it wasn't until that Taylor would return to the genre that helped him gain notoriety with Supreme Commander.
By the time a proper successor to Dungeon Siege had been released in the form of Space Siege for publisher SEGA, Taylor had moved into an overseeing position and continues to lead the direction of Gas Powered Games to this day.
The Impact of Total Annihilation was significant, as it was not only in 3D -- still a foreign concept to other RTS games at the time -- but also approached the strategy of unit attacks and abilities with the 3D visuals taken into account as well. Great games have the ability to draw players into their worlds, immersing them in fiction.
This is usually thanks to storytelling done right -- where plot devices and clever use of set pieces dangle a carrot in front of a player's imagination while giving them enough incentive to lean in and take a bite. Ken Levine is a master of capturing that element in his videogames. A veteran of numerous projects at Looking Glass and Irrational Software now 2K BostonLevine relies on elliptical narrative instead of traditional cutscenes.
His games teach players to understand the bigger picture through interactions with other people and the world around them. Levine's best work uses these techniques flawlessly. Thief, System Shock 2 and -- most recently -- BioShock are all great examples of immersive storytelling that scores of other developers have imitated.
Another Levine influence is the slick and extended use of NPCs regardless of the genre he's tackling. In most of Ken's projects, every AI-driven character is important to the bigger picture -- connecting players to the game world on a personal level that was rarely seen prior to Levine's donations. Oh, and did we mention he's really good at freaking us out, too? The classic System Shock 2 is still one of the scariest games we've ever played; largely thanks to the unnerving claustrophobic atmosphere of being trapped on a spaceship and clever use of "gotcha" moments that don't feel scripted.
It's safe. Nothing it going to hurt you while you're watching this He joined Nintendo in the late '90s and quickly set to work on one of Nintendo's most loved franchises -- an unenviable task considering the series was one of Shigeru Miyamoto's earliest breakout hits and one that Miyamoto himself had been overseeing for three generations of hardware. When The Legend of Zelda moved to the N64 and Miyamoto's role at Nintendo began to shift from core game development to more of a production and company-wide navigation, the task fell to Aonuma to keep the series afloat.
To compound things, Link was finally moving from 2D to 3D, which brought with it a host of newfound difficulties. Aonuma soldiered on and delivered what many believe to be one of the best games ever with Ocarina of Time. Majora's Mask followed, and the series eventually graduated to the GameCube with Wind Waker, but Aonuma actually got a chance to head back to the beginning when the Zelda Collector's Edition was rolled out to help cap off The Wind Waker's then-next-gen release.
That return to the old-school bit Zeldas would eventually feed into The Minish Cap on the GBA and later, the lessons learned in The Wind Waker would fuel the DS continuation, Phantom Hourglass, even if the gameplay is both old-school and updated for the touch screen. Aonuma's experience as producer and director on Four Swords Adventures and Twilight Princess only helped to reinforce the breadth of his experience with the franchise's different gameplay styles over the years.
Though it's not entirely fair to call Harvey Smith an understudy of Warren Spector, the two shared very similar paths for a good chunk of Smith's career, starting with a handful of games at Origin Systems like System Shock where Smith started on documentation continuing on through Cybermage where he began to take on more of a storyteller's role and culminating in his role as lead designer for the original Deus Ex at Ion Storm. By the time Deus Ex's sequel was under way, Smith had built up a considerable amount of experience.
With the blessing of Spector, Smith took the helm of the series, though the shift to include console versions at the same time as the PC served as the crux of the game's criticism, damaging Smith's pedigree as a purveyor of deeply immersive, imaginative adventures.
Smith's role on the far more warmly-received Thief: Deadly Shadows helped patch this up, though he didn't have nearly as large a role as Invisible War despite the games sharing a mutual engine. When Ion Storm finally went belly-up, Smith moved to Midway to helm a more story-driven version of the coin-op light gun shooter Area Dubbed Blacksite, a none-too-thinly-veiled jab at some of the more clandestine actions our military was taking overseas at the time, the shooter failed to capture critics' adoration quite as universally as some of his earlier work.
Smith eventually left shortly thereafter, and has yet to resurface publicly at another development house. In the meantime, he's continued to update his own personal blog, Witchboy. One of a large group of promising developers to emerge from the hotbed of talent at Looking Glass Studios in the early nineties, Doug Church's career has often shadowed fellow Looking Glass alum Warren Spector, and with good reason: Church and Spector collaborated often with Spector producing and Church lead developing on a number of games now considered classics, including Ultima Underworld and System Shock.
There, he oversaw and contributed to a handful of Eidos studio projects, including Deus Ex at Ion Storm which housed a post-Looking Glass Warren Spector and Crystal Dynamics which would come to take over the Tomb Raider franchise after Core Design was taken off the series. His role at Eidos often allowed him to reunite with former co-workers at other post-Looking Glass studios like Irrational Games and Harmonix.
Church's collaborative role extends to present day, where he often contributes to educational programs fostered by the International Game Developers Association, helping colleges and game design schools to integrate their curriculum in way that will allow students to break into the industry with a complete set of skills or offering tutorials to introduce core concepts to existing devs.
Brian Reynolds may not be as synonymous with development house Firaxis as fellow co-founder Sid Meier, but he's been every bit as instrumental in the success of their games, including franchises like Civilization and Alpha Centauri.
Although Meier, Reynolds and Jeff Briggs all left MicroProse in the mids for Firaxis, Reynolds and Briggs never quite achieved the same kind of name recognition as Meier, due in no small part to Meier's name being plastered over just about everything that comes out of the Maryland-based developer. Given his degrees in European History and Philosophy, it makes more than a little sense Tender (The Final Story) - The Psychonauts* - Time Machine (CD) Reynolds would gravitate toward strategy games -- particularly the kind that Sid Meier was making a name for himself in.
While at MicroProse and then later at FiraxisReynolds studied under Meier and eventually began heading up full-blown sequels featuring key advancements in AI -- one of Reynolds' fortes -- though they still carried their eponymous creator's name. Perhaps in part because of that, Reynolds eventually sold his stake in Firaxis and went on to found his own dev house, Big Huge Games, which struck gold with Rise of Nations and publishing deal with Microsoft.
Subsequent expansions have followed, which Reynolds has helped craft in addition to providing coding duties on the version of Catan and taking over for Ensemble Studios for their second Age of Empires III Expansion, The Asian Dynasties. Reynolds' apparently tireless pursuit of building strategy games he seems far more comfortable in a development environment than heading up the company itself appears to be paying off, as THQ announced that it is scooping up the developer and publishing all future endeavors.
Harmonix's background, as the name would imply, was less about games and more about exploring the concept of music creation and making it easier for budding artists to craft music without knowledge of high-end software. As it happened, games ended up being the perfect vehicle for what Rigopulous and fellow founder Eran Egozy were trying to do, and their first game along with the rest of the Harmonix team was Frequency, a critically lauded but commercially lacking trip through music creation.
Amplitude, the sequel, introduced more mainstream acts into the mix and shifted the interface from a tunnel to a flat plane, which was the critical advance that begat Guitar Hero, Harmonix's industry-changing music franchise. Put your best ones in the comments! It's your Daily Fix! Final Fantasy Origin. Venom, Carnage, Daequan and More 2h ago - Fortnite Season 8 is in full swing, and there are mixed feelings abotu Venom and Carnage in the game.
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About delhi wali meena bhabhi ki nangi boobs aur tight chut ki photohi guys. Their movements are accompanied by a set of increasingly tense string chords Cat: I thought the moment needed something. You know, you've gotta hand it to a teacher who supplies his own wacky montage music. So, if Ron had taken a little longer on his turn, this dramatic score would be playing while the spider flailed around comically?
I feel robbed of a Record Scratch moment. I mean there was an actual record playing for Christ's sake! Kevin Murphy : And what sexy music? Can he hear the soundtrack?
Is he God?! Shaun: sniff It's on random. Ed: For fuck's sake! Ed: It's on random! Liz: For fuck's sake! Cogman : I was trying to make the moment more epic. Turns out Billy 's cell phone has the torero song of Carmen as its ringtone In Freshmanone of the special powers of vampires is that they get their own personal soundtrack that plays whenever they're nearby.
At one point, Tender (The Final Story) - The Psychonauts* - Time Machine (CD) comments that she downloaded hers off the internet. Kids Praise : Yes, they actually managed to play this trope straight in a Religious Edutainment musical album: in the third album note the one that introduces Psalty's familyRhythm has a habit of getting carried away playing drum solos If Psalty weren't asking his son to turn it down, you might not guess that those solos weren't intended to be one of the songs.
Bright Eyes ' "An Attempt To Tip The Scales" segues from a proper song to a mock-interview skit via an ambient electronic drone, which keeps looping in the background throughout the interview Until Conor Oberst casually asks his interviewer "can you make that sound stop please? Music Videos.
In 30 Seconds to Mars " This is War ", the soldiers in the humvee turn off the music when they hear a strange sound outside and want to hear it better. When this happens, the Team Rocket music from the anime begins playing and a spotlight comes over Cira to begin the motto. Rose and Cobalt actually hear and comment on the music, wondering where it and the spotlight is coming from. Even Cira is confused about how she wound up in a high place openly wearing her Rocket uniform. The characters soon discover the source of both: a Loudred hiding off to the side creating the music and causing the spotlight by using its Encore ability, which is what compelled Cira to out herself as a Rocket when she hadn't planned on it.
Orders to the Loudred to cease the theme music are described as being accompanied by a Record Needle Scratch. Rose and Cobalt later wonder if Loudred come standard issue to Rockets. Puppet Shows. The horse explained that there was a tape deck in the saddle. A scene in It's a Very Merry Muppet Christmas Movie has Kermit and the others fretting over the future of their theatre when they're interrupted by a sudden mystical-sounding harp sting.
Cut to Janice who apologises that she was just tuning her harp. The establishing shot of the island in Muppet Treasure Island features jazzy background music, before pulling back to reveal The Electric Mayhem.
Zoot: I'm confused. Are we with the pirate dudes, or the frog captain? Floyd: Hey, man, just play the gig. Don't get involved in the politics. Animal: Politics! At least once in Bleak Expectationswhere old Pip, recapping for a journalist, mentions the name of the Boarding School of Horrors he attended, at which point thunder crashes and an organ plays an ominous chord.
He shouts at his daughter to please stop playing the organ in a thunderstorm while he's talking. Amos recalls his teenage years in The '80s via a monologue with dramatised bits. He describes how when he had his first kiss he thought he heard a gypsy violin, and one starts up in the dramatisation. Then he says he suddenly realised there was a gypsy violinist who happened to be passing. And then he sarcastically comments that the gypsy violinist was apparently playing the harmonica solo from "All Rise" by Blue even though that song wouldn't be released for over a decade.
In the Radio 4 sitcom Gloomsburyscene transitions are indicated by a brief burst of 20s jazz. In the episode "Two Broads Broadcasting", one such transition is interrupted by the sound of a radio retuning from the jazz to Vera and Ginny's poetry.
Even seen in the dramatic one-woman play Golda's Balcony ; a weary Golda Meir repeats the line "I could do without that music" several times. In The Goon Showevery time a character was monologuing about having fallen on hard times, the same sentimental melody the Standard Snippet "Hearts and Flowers" would play on the soundtrack.
These sequences always ended with this gag; the only exceptions are those that begin with an "I'll just put the BGM on" gag. Sometimes this doesn't even appear in the script, but got ad-libbed in as the audience expected it. Adlibbed line: I'll stop playing this violin then! Jack's Mother Tim : Oh look, Jack, there's a huge beanstalk outside our back door! Jack Graeme : I heard it! It was growing in the night, the piano woke me! Stern then immediately orders him to turn it off.
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