About: I Am Rapture - Rapture is Me   Sponge Permalink

An Entity of Type : owl:Thing, within Data Space : 134.155.108.49:8890 associated with source dataset(s)

Audio director Emily Ridgway worked closely with composer Garry Schyman in developing the score. They had previously worked together for the audio on the retro-inspired 2005 video Destroy All Humans!. Schyman's experience with film scoring lead to natural choice by Ridgway for BioShock for creating an atypical video game soundtrack with emphasis on "No Electronic Music". Some parts of the score is described by Schyman as "aleatoric" with some parts of the composition cuing up in response to the player's chance maneuvers and encounters.

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  • I Am Rapture - Rapture is Me
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  • Audio director Emily Ridgway worked closely with composer Garry Schyman in developing the score. They had previously worked together for the audio on the retro-inspired 2005 video Destroy All Humans!. Schyman's experience with film scoring lead to natural choice by Ridgway for BioShock for creating an atypical video game soundtrack with emphasis on "No Electronic Music". Some parts of the score is described by Schyman as "aleatoric" with some parts of the composition cuing up in response to the player's chance maneuvers and encounters.
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abstract
  • Audio director Emily Ridgway worked closely with composer Garry Schyman in developing the score. They had previously worked together for the audio on the retro-inspired 2005 video Destroy All Humans!. Schyman's experience with film scoring lead to natural choice by Ridgway for BioShock for creating an atypical video game soundtrack with emphasis on "No Electronic Music". Much like a film score, several pieces of music are written specifically for certain scenes like the first reveal of Rapture and the introduction of Dr. Steinman. Other pieces were written for introducing each level and imbuing each with their own distinct soundtrack. Some parts of the score is described by Schyman as "aleatoric" with some parts of the composition cuing up in response to the player's chance maneuvers and encounters. In a 2011 interview with Kill Screen magazine, Pat Balthrop, sound designer, was concerned about the sound mixing in the game and the lack of a standard in the video game industry. "Towards the end of BioShock, Ken [Levine] demanded that we find the worst TV in the studio. I still remember him in the middle of the [development] pit sitting next to this little mono TV. He listened to the entire mix of BioShock through this tiny TV."
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