The central concept of the experience is repeatedly falling down a mountain and having to climb back up with nothing but a mouse-controlled hammer — a long cycle of comical discouragement and disempowerment. The player character cannot walk, jump, collect anything, or even die from the falls back down; visible progress is at most a temporary boon in the longer journey toward mastery of the game, and failure is likewise temporary. The graphics are relatively unremarkable save for an abundance of visual gags. The soundtrack is a collection of pre-existing public domain songs used for cheap jokes. The gameplay is itself an admitted retread of an earlier, less popular indie game. Most of the game is specifically designed to infuriate the player over and over and over again.
Marvin Gaye And Tammi Terrell: All You Need To Get By
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It was one of the most glorious achievements in 60s music, rising from a delicate opening to a shattering climax. If the 60s gave us the love generation, here was an anthem full of love. If soul was about physical passion in a gospel context, this song is its apex. Dusty Springfield heard it and liked it, but the canny tunesmiths held on to it, believing this moving song could provide leverage at Motown. It did. I started as a singular performer. There was a group of us in church, and my [preacher] father used to call me up singularly… which was rather frightening at first. I guess I came on. Some people [at Motown] who were on their toes dug her sound and realised we may possibly make a good duet.
Cinema and audiovisual media are integral to the culture, economy and social experience of the contemporary global city. But how has the relationship between cinema and the urban environment evolved in the era of digital technology, new media and globalization? And what are the critical tools and concepts with which we can grasp this vital interconnection between space and screen, viewer and built environment? Engaging with a rapidly transforming urban world, the contributions to this collection rethink the 'cinematic city' at a global scale. By presenting a global constellation of screen cities within one volume, the book encourages juxtapositions and comparisons across the North and South to capture the global city and its dynamics of exchange, hybridity, and circulation. The chapters address topics that range across the contemporary film and media landscape, from popular cinema, art cinema, and film festivals to serial television, public screens, multimedia installations, and video art.