From the award-winning video game writer of such hits as Star Wars Battlefront and BioShock comes an exclusive “compelling look into a world that doesn’t like to spill its secrets to outsiders” (NPR): the video game industry. When his satirical musings in a college newspaper got him discharged from the Air Force, it became clear to Walt Williams that his destiny in life was to be a writer—he just never thought he’d end up writing video games, including some of the biggest franchises today. A veteran video game narrative designer, Williams pulls back the curtain on an astonishingly profitable industry that has put its stamp on pop culture and yet is little known to those outside its walls. As Williams walks you through his unlikely and at times inglorious rise within one of the world’s top gaming companies, he exposes an industry abundant in brain power and out-sized egos, but struggling to stay innovative. Significant Zero also provides clear-eyed criticism of the industry’s addiction to violence and explains how the role of the narrative designer is crucial for expanding the scope of video games into more immersive and emotional experiences. Significant Zero is a rare and illuminating look inside “the video gaming industry in all its lucrative shine and questionable morality…[and] provides a refreshing and realistic portrayal of succeeding at attaining a dream via an unforeseen career trajectory” (Booklist).
Roger Sheehan leads a treacherous path to the highest seat in the nation. A CIA top secret is underway in the South of France. Construction of an ultramodern nuclear reactor is put on a flash drive and falls into the hands of an American senator. Hitmen from the CIA are closing in on Paul Bradley, but the flash drive is up to the highest bidder. It reaches a zenith point on twisted metal 380 feet up at a resort on a Caribbean Island. Marianne Sheehan is standing at the threshold of Washington’s world power holders. Deception and distrust hang over the capital, turning its lightsome image dark and gray.
Walt Williams reminds us that we can only appreciate life because of death, and maybe the true meaning of love cannot be defined by words but by little moments. A story about two souls playing to live on the edge of death. John and Nana didn't expect to meet in the last day of their lives on the top of the most mysterious building of the city, being completely strangers from different worlds, they try to understand if life is still worth it. Maybe a last talk between them can change their fate or maybe it's just too late...
Vaughan Williams' first effort in the symphonic form had a relatively long incubation period - from 1903-1909. With text assembled from Walt Whitman's "Leaves of Grass", the work is scored for soprano and baritone soli, mixed chorus and large orchestra. With an average duration of 70 minutes, it is one of the longer pieces in the symphonic repertoire. The work's received its premiere under the composer's baton at the Leeds Festival on October 12, 1910 - Vaughan Williams' 38th birthday.
This book offers the most comprehensive and detailed reading to date of Song of Myself. One of the most distinguished critics in Whitman Studies, Ed Folsom, and one of the nation’s most prominent writers and literary figures, Christopher Merrill, carry on a dialog with Whitman, and with each other, section by section, as they invite readers to enter into the conversation about how the poem develops, moves, improvises, and surprises. Instead of picking and choosing particular passages to support a reading of the poem, Folsom and Merrill take Whitman at his word and interact with “every atom” of his work. The book presents Whitman’s final version of the poem, arranged in fifty-two sections; each section is followed by Folsom’s detailed critical examination of the passage, and then Merrill offers a poet’s perspective, suggesting broader contexts for thinking about both the passage in question and the entire poem.
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