White Rabbit - Le Flange Du Mal - Le Flange Du Mal (CDr)
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Blog Informations presse Applications Linguee. We will ask you to do a drawing. That night the ' li tt l e white rabbit h a d wonderful dreams [ Who, really, is t h e White Rabbit? I am the ' li tt l e white rabbit a n d I want to live in peace. Je suis ' le pet it lapin to u t blanc e t j e veu x vivre [ Smiling, the crafty Fox.
One morning the ' li tt l e white rabbit w h o was fed up with [ Step into the shoes of classic characters. Snowball, t h e white rabbiti s female and Brownie [ S no wballl e lapin b lan c, es t une femelle [ Happy with the advice he had been given on how to live in. Sometimes, the ' li tt l e white rabbit w a s left all alone [ The ' li tt l e white rabbit t h an ked Mrs.
Owl and [ Your child will have a. New Definitions. Economy 3D Engines. Genesis3D from Eclipse www. Torque Engine by GarageGames www. Quake 2 Engine by id Software www. Midsize 3D Game Engines. WildTangent Multiplayer.
Licensing the Web Driver. LithTech Game Engine by Monolith www. Nocturne Engine by Terminal Reality www.
Serious Engine by CroTeam www. Luxury 3D Game Engines. Criterion Softwares RenderWare www. More About RenderWare Platform. More About RenderWare Studio. Documentation and Support. Quake 3 Arena Engine by id Software www.
Artificial Intelligence AI. Linear vs. Nonlinear or Games vs. Films and Books. Alice in Wonderland. Nonlinear, Game Interactive Format. Alice in Planet Wonderland. Nonlinear Game-Oriented Scripting Standard. Scheduling a Shoot or Voice-Over Session. Audio: Sound and Music. Sound Quality vs. File Size. Cakewalk www. Cakewalk Home Studio. Home Studio XL. Metro 5. Sonic Foundry www.
Sound Forge 6. Vegas Video 3. Awave Studio www. Sound Ideas www. The Hollywood Edge www. Table of Contents. Rules of Poker. The Cashiers Cage. VIP Register. The Lobbies. The Prize Vault. Poker Rooms for Four and Eight Players. First and Second Floor Card Icons. Third Floor Card Icons. First Floor. Second Floor. Third Floor. Special Floor. Four-Player Poker Characters. First Floor: Roman Motif Four. Second Floor: Oriental Motif.
Third Floor: Egyptian Motif. Eight-Player Poker Characters. Whole Cards. Discarded Cards. No Alpha Round Cards. Fake Drop Round Cards. Fake Drop Shadow Cards. Cashier Cage. VIP Casino Card. VIP Clipboard. Credit Screen. Statistics Screen. Tournament First Prizes. Exit Game. Basic Poker AI. Five Card Stud. Texas Hold Em and Omaha. Game Variations Order of Play. Texas Hold Em. Contact Information. John and Kelly Enstrom. The Game Designer For the past two decades, Ive met people in the streets who proudly state it to me.
For over twenty years, Ive chatted with people on planes, trains, buses, and in automobiles who have chatted about it with me. In every computer superstore and every computer outlet, gaming fans have argued and bragged about it.
For numerous years at computer gaming conferences and conventions, game programmers, graphic artists, and even producers have secretly whispered it to me. Even now, you the White Rabbit - Le Flange Du Mal - Le Flange Du Mal (CDr) are thinking the exact same thoughts: I have a concept for the most amazing and revolutionary game. This game of mine will blow away every game that has ever been published.
I played the hot game and with a few of my additions and real cool puzzles or tricks, it could be so much better. We all have great gaming concepts that would have millions of gaming fanatics praising our genius and creativity. Then why arent there millions of game designers? What transpires from concept to a product on the shelf? Lets get started and understand the initial tools we need to begin designing this great game that exists in our minds.
You need to be able to convey your ideas for others to carry out. You do not need to be an expert in programming, programming languages, operating systems, or what 3D card is best for your game. Your job is to tell the programmers in a document to design for you a temple. It is the programmers job to create your temple by using any material they wish, like marble, brick, wood, and even straw.
They must be able to make the structure stable and functionally designed. You do not need to be an expert in graphic packages, various graphics file formats, or graphics libraries. Your job is to tell the graphic artists in a document that your temple needs to be decorated. It is the artists job to decide how to set the environment by creating marble statues, elaborate tapestries, ornate wooden wall carvings, and exquisite stained glass creations.
Objects and characters will be needed in your design, but the artists will be given a freedom to create them see Pedersen Principle 3 in Chapter 2. The designer must supply the artist with samples of environments, layouts of the UI user interface or what the player seesand maps of the terrain or world.
Later we talk about research that you, as the designer, must provide the staff regarding your game see Chapter 7, Research. Your job is to tell the audio engineer and music people the places where there is to be music and sound effects in your game or world. Through research you will be able to describe your thoughts and possible audio examples of music style jazz, classical, or rockmusic moods excited, calming, or scarycharacters desired voices famous voices or dialects like British, Southern American, Spanishand sound effects based on players input or gameplay reactions.
The game is a dream running inside your head that needs to be expressed to others. Publishers, developers producers, programmers, graphic artists, and audio specialistsand even yourself need to see written documentation describing your fantastic vision, your concept.
You need to map out the playing field, describe the rules and features that make your concept unique and special, and resolve the potential unknown and empty areas an area of unforeseen paths. No one else can make these God-like judgements and additions to your vision.
Your decisions should be free from technology, free from any limitations of the developers ability, and able to go outside the boundaries of todays thinking. This is your innovation, your vision, your genius. Pedersens Principles on Game Design Since I have worked in the computer and video gaming industry in various roles including executive producer, producer, game designer, technical director, and programmer.
Throughout the years I have learned many principles from my years of industry experience. In keeping with my philosophy that game developers should share and exchange information relevant to our industry, I present ten principles of game design and production that everyone in the industry should be acquainted with.
Principle 1: Understand the Role of the Designer and Producer Its vital to know what lines of responsibility are drawn within game development organizations. This knowledge gives you an understanding of which people are responsible for which game components, who makes design and production decisions, and so on.
The game designer. The game designer is the visionary, somewhat like a books author. This person has outlined the scope and description of the product with sufficient detail so that others can understand and develop the product. Just as a book author sees his creation develop differently when made into a film, the game designer needs to accept and solicit modifications from the team members, the publisher, and the public during the development process. Often one of the game designers tasks is to create the project biblethe games lengthy design specification.
This document details the gameplay, describes characters and settings possibly including diagrams or drawingsincludes level descriptions and possibly maps of areas to explore, positions and actions for each character or class of character, and so on. The producer. The producer is the projects manager, its champion. The producer must keep the entire team productive and the lines of communication open.
This person is a diplomat, a politician, a troubleshooter, a force needed to produce the product. The producer must keep marketing, advertising, and public relations teams up to date with the. These teams must understand the gameplay, its features, and the story line to generate great ads, media hype, magazine previews, and so on. In return, these nontechnical team members, by virtue of their continuous contact with the public, provide the game developers with feedback from the public, magazines, and retail channels about what features are currently hot in games.
The producer needs to facilitate communication between the whole team and provide timely support for each developer, which includes ensuring that: n Artists and animators provide artwork, animations, and temporary placeholders to the programmers on time, until the final artwork is available n Programmers provide the artists with current versions of the game so they can see their artwork in a real-time gameplay mode.
The producer must also make sure that the programmers provide a current version of the game to the sales, public relations, and marketing teams, along with various reports about the latest version of the game. These reports describe gameplay, special features, hardware requirements and supported hardware and peripherals, and contain screen shots that best portray the product for ads, promotional sheets, previews, and reviews for magazines.
The producer also needs to make sure that programmers work with the quality assurance QA testers and provide them with the play instructions, special key combinations, hints, and undocumented features and actions. These engineers also need to view and White Rabbit - Le Flange Du Mal - Le Flange Du Mal (CDr) the current version to check and validate the timing, usage, and clarity of their work.
The problems must be categorized as major crash, function or action not workingminor text misspelling, character movement too fast or slow, response time feels wrongglitches sound or graphic problemsimprovements add a new feature, improve the characters interaction or behavior, clarify a confusing aspect of the design or gameplaya videogame standards issue the triangle button does not perform as the standard function definitionand multiplatform inconsistency PC version vs.
Whether one person assumes the role of both producer and designer or several people handle these tasks, there must only be one producer whose word is final, whose decisions are followed, and whose leadership is trusted and motivating.
Principle 2: No Designer or Producer Is an Island Gathering information throughout the product development cycle and knowing what to do with it is the trait of a great designer and producer. Designers should research their subject matter and evaluate outside suggestions and opinions. The audience demands and expects films and books to seem realistic and accurate.
The computer and video game audience should accept nothing less. When undertaking the development of a sports game e. However, much more research must be undertaken to create an immersive experience for consumers.
Whether the game genre is sports, RPG, adventure, or simulation, the first step is to research similar titles in that games genre. You can do this by surfing the Internet, visiting the local store and purchasing competitive games, reading reviews of similar genre titles, collecting marketing materials and advertisements from other publishers web sites, and so on.
This information is invaluable when you are designing a new product. If you are the producer of an upcoming baseball game, you ought to know the common elements found in other baseball titles, as well as special features that differentiate each product from its competitors. You should read reviews of similar titles and the competing titles list of features. From this freely collected information, a designer can understand the features and gameplay customers expect, special features that the competition offers, and the criteria upon which the reviewers will base their critiques.
The design of the game needs to address how to be better than its competitors. The design must be able to handle flaws, difficulties, and problems that reviewers and customers have complained about in previous versions of this product or in other similar genre titles. As the decision maker, you must listen to your development team, your marketing and sales team, retailers, and your game-playing audience.
The ideas that are formed must have a good foundation. All reviewers try to accurately explain and criticize the product to the public. Theres a real difference between discarding a reviewers opinion and listing the problems and how your design addresses each one. Customers enjoy great products. Their expectations are that your product will teach them something new.
Ive received a great deal of fan mail in which consumers have cited the aspects of my games that they enjoyed. These letters also tell me what additions to the game they would like to see in future releases. Magazines publish readers letters that praise and criticize the products. Market research and beta test groups of potential and previous customers can be worthwhile in the final design stages to tweak the product before its release.
See Principle 3 for more information about this. In Villa Crespo Softwares Flicks, a product that reviewed 30, films, a field for close-caption was added during the development, instantly adding four million members of the hearing-impaired and non-English speaking audiences to the products customer base.
Newsletters reaching this consumer sector gave the product free, positive reviews because the product included information vital to their readership. The producer should collect information from team members about improvements that can be made to the product and relay this information to the designer. The producer must be able to recognize a good idea when he hears it and implement that idea in the game to make it a better product.
Designers should be adaptable and open-minded to ideas that can make their games better. Producers need to be managers, leaders, and diplomats who are able to take information from others and incorporate good suggestions in the final product. These new ideas must then be communicated by the producer and understood by all involved. Principle 3: Let Professionals Do Their Jobs Most projects have a team of talented professionals made up of designers, programmers, graphic artists, audio technicians, testers, marketing coordinators, and so on.
Each of these team members brings his own unique, important talents to bear on the project. A producer and designer must rely on these professionals and their particular points of view to improve and facilitate the development process. Regardless White Rabbit - Le Flange Du Mal - Le Flange Du Mal (CDr) the products genre, each member can make a product better. For instance, the quality assurance QA and testing people can suggest gameplay improvements before the product is shipped.
No member of the team plays the game for hours at a time like a QA person does; therefore their suggestions are similar to that of the potential customer. In fact, members of the QA team have probably played more games in a particular genre than the rest of the team combined.
The producer must not only trust the team members but also rely on them for input to create the best product. For instance, allowing players to access every option within two button clicks may be simpler than having 37 unique keys to press. Likewise, having to press A, B, C, and D to control the movements of an airplane in a flight simulator would drive the average player crazy.
If a player has to repeatedly press four keys to perform a task, the game design should include a superkey or a one-key macro to simplify the operation. Keep design interfaces simple. I once designed games for an arcade manufacturer, and the president of this company taught me a valuable lesson about design. With arcade games, however, the player has only invested a quarter or two, so if the game isnt understandable, addictive, and compelling, the player moves on to the next machine.
Who cares about wasting pocket change? While this is especially critical for arcade games, I think its important to remember when designing games for any platform.
Principle 5: Schedules Are Like Laws Schedules are like laws; they are created by legislative bodies and meant to be obeyed, but they are also designed to allow exceptions if evidence warrants special circumstances. Likewise, milestones created at the beginning of the project may need to be changed based on problems that occur during development. For instance, the decision to change the original game specification e.
If another month of development time would greatly improve the gameplay, remove non-show-stopping bugs, or allow for better visuals or audio effects, then circumstances justify deviating from the schedule. To ship a game on a target day, month, or year, regardless of the state of the product at that time, can spell disaster for that product not to mention the harm it does to the publishers reputation.
Missing seasonal dates like Christmas is bad, but shipping a buggy or poorly made product is worse. You should only modify a project schedule if there are valid reasons.
The team and publisher must agree that the additional time will substantially benefit the product. If the player reports enjoying the game that I worked on for at least one week, then I am happy. If the player feels ripped off due to poor game design, numerous bugs, obstacles in playing the game e. Every member of the team should be proud of their product. They should consider the praise from consumers, reviewers, and the industry as their reward for the time and work they spent on the game.
Similarly, a designer White Rabbit - Le Flange Du Mal - Le Flange Du Mal (CDr) producer does not have to have experience working on a particular genre. The producer can educate himself to create a good game within that genre. In fact, a designer or producer doesnt have to even be an enthusiast of that genre in order to get good results.
Putting together a team in which at least one member enjoys the genre or studying competing products of the genre is the critical part. Often just one enthusiastic team member can show similar games that he has enjoyed and thereby turn every team member into a knowledgeable player of the genre. Combining fanatical genre loyalists along with non-genre players on the development team can result in benefits you may not have considered.
For instance, a non-genre player can suggest modifications to a games design by pointing out aspects of the genre he finds unappealing, whereas a fanatic of the genre can lend his expertise and advice to keep a game White Rabbit - Le Flange Du Mal - Le Flange Du Mal (CDr) to the genre. A knowledgeable developer or producer may ask the entire team to play similar games in that genre and ask each team member to critique the products. This technique can help the development of your product, and its time well spent.
Principle 8: Be True to Your License Games based on licensed products often cause players to make certain assumptions about those titles.
There are preconceptions about the gameplay, content, and target audience. In stores, its the licensed titles that get noticed first, regardless of their marketing and advertising. Game designers must understand this customer mentality. The designer must. Principle 9: Share Your Toys! Throughout the years, many game developers have bounced ideas off me, asked me questions, and so on. I have, and will always, welcome these inquiries because I believe its for the greater good of the industry.
Since I have always been interested in creating and exploring ideas, Ill gladly help when someone wants information. Three occasions in particular are worth relating: n In an auto mechanic who owned an Atari ST called me to pick my brain about game design and various game projects that he was working on.
For several months we talked, and he often sent me samples of his artwork as well as demos of the concepts wed discussed. Sometime around he had an interview with a major publisher and discussed taking the demos and artwork with him. I encouraged him and wished him success. A few weeks later he announced that he was hired as a platform level designer.
Within months he became the top platform level game designer for this company, and he worked on the most well known titles in the industry.
He eventually left this publisher to join another equally large publisher as the head of game design. He appeared in several magazines displaying his platform level designs. To this day, Ive never met him and have only seen him in the magazine articles that he sent me, but I feel happy that I was a small influence in his life and in the industry. Today he writes a column for gaming sites like Gignews.
As he played, I observed him and asked questions like, How did you know to do that? After we got to know each other better, he showed me several comic book sketches that he had drawn, which were great. Since he was new to computer graphics and animation, I taught him the. For instance, a baseball game that uses a particular baseball teams manager in its title suggests a strategy sports game.
Players would probably assume that they would be responsible for making decisions about the players and batting order. On the other hand, a licensed product linked to a professional baseball player would suggest an emphasis on sports action, such as pitching and batting. Theres one reason why licenses cost big bucks. Designers and producers must use the license and the games characters to leverage consumer preconceptions to the titles benefit.
He learned quickly and produced some of the finest artwork that CGA four-color palette and EGA color palette would allow. After the release of this title, he went to work for a Florida publisher as a computer and video game graphic artist. When the company moved to California, he moved with them.
The last I heard, he was moving on to one of the big publishers as a senior graphics person. The description read well, but the demo he sent me was terrible. Over several months on the phone, we fixed many of the games rules and aspects of the gameplay, which greatly improved the game show. I programmed the game and hired an artist to provide the graphics.
The game was fun to play, and it was the first product to feature on-screen players of all races. The high school student and I shared in the profits for several years. The reason I relate these stories is that I want to emphasize the benefit to those who help budding game developers.
When the opportunity to help someone comes knocking on the door, offer that person hospitality and kindness. The results will benefit the seeker of knowledge, honor you, the master, and benefit the industry as more creative thinkers join in. Principle Theres No Magic Formula for Success Keep in mind that no one individual or company of any size has discovered the formula for what makes a successful product.
Like film, art, and music, games appeal to a variety of consumer tastes, and of course taste is subjective. Some developers of past hits have credited their success to the underlying technology that their game used. Other developers claim that their game transports the player into a surreal and immersive universe.
Yet others feel their games success is due to the way it engrosses the player in a realistic simulation and challenges them with its compelling design.
Behind each successful title is a unique list of traits that made it popular with consumers. The bottom line is simple. A well-designed product based on a team effort with a simple, user-friendly interface developed within a reasonable time frame will be successful.
War Stories The following stories are passed down to you as game industry folklore. The truths they reveal to future game designers are more important than their accuracy. In the late s Acclaim Entertainment licensed the movie Batman Forever to be developed as a video White Rabbit - Le Flange Du Mal - Le Flange Du Mal (CDr). At the time, Acclaim was among the top video game publishers in the world.
When I was hired at Acclaim as producer and then executive producer, many staff members including producers, assistant producers, and QA quality assurance testers had protested the release of Batman Forever due to extremely poor gameplay.
Management wanted the game released to coincide with the movies opening. They felt that the reputation of Acclaim and the anticipated success of the movie would be the selling point and that gameplay was least important. The Batman Forever video game almost destroyed Acclaim Entertainment. Their stock plummeted, they lost millions of dollars, and a large percentage of employees including the author were laid off. Lesson: Nothing is more important than gameplay.
Lesson Two In March an experienced game designer, John Romero, from the team that created the first-person shooter Doom, and his staff equally famous and talented began Daikatana a Japanese word for big sword. Like Doom, Daikatana was touted as the next super game. Its designer, John Romero, was quoted as saying Daikatana is a super-fast, Doom-style blast-a-thon.
If people dont like it, they dont need to buy it. The ads that ran in magazines stated, John Romeros about to make you his bitch. Suck it down. With delay after delay and two years late, reports of staff conflict and mass exodus of team members didnt help, and the publics anticipation turned sour.
Romeros attitude of Damn the lot of you was not the way to turn the situation around. A release in March of Daikatana would have had the game ahead of the pack in gameplay and technology using the Quake 2 engine. Being released two years later with the Quake 3 engine available, the game seemed simple and not what one would expect from the hype and its famous designer from id Software.
Lesson: The Dream Team can easily turn into a dictatorship nightmare. A designer must respect the team and the audience. Hard work and great gameplay, not hype should be written on the designers wall. The game was designed with several mini-games featuring Ralph and Ed. One game had Ralph driving the streets of New York in his bus picking up various passengers throughout the city.
For some reason, the designers had Groucho Marx as one of the random passengers. This gimmick not only added nothing to the game, but the publisher was in violation of copyright and trademark infringements since they had not received permission to use Groucho. Research and double-check your sources for story lines, artwork, and sound especially sound bites.
Lesson: Research is critical and must be accurate. Dont take anything for granted. One of the gimmick features of the game was that the first player to solve the adventure would win a valuable prize. Obviously, the designer didnt want players winning too soon, so the game was made with one extremely difficult level of play. Just before the games release, the licensor, upon learning of the prize gimmick, demanded that it be removed. The game was released as a tough, almost impossible adventure to solve.
Reaction: Think of designing a Titanic game with multiple levels from novice easy to championship prize-worthy tough. Perhaps the player can master the controls and map out the underwater terrain in the easier levels. In the harder levels, new areas of exploration open up and there are new objects to discover. This multilevel design approach would work whether the prize gimmick was offered or not.
For a player to purchase and spend time playing an extremely tough game is just frustrating and wrong. Players who have conquered lower levels of play and then are elevated to an extremely tough level feel they have earned the right to be frustrated.
Design multiple levels and options of play in your game. When heading toward an iceberg, avail yourself of multiple options well in advance. Having only one option, just a straight path through the iceberg, may leave you with a sink or swim result. Lesson: Design multiple scenarios for playing and winning the game. Dont let gimmicks sell the game, let good gameplay sell it.
He reasoned that war games are fun, yet only a small percentage of game players are buying them. Perhaps that would change if there were a new type of war game designed for the non-wargaming audience.
If the game were easier to use, different from the standard hex-based war games, it would reach a larger base of players. This seemed reasonable; in fact testers seemed to confirm these thoughts. So what could possibly go awry? Well, first, the sales and marketing people failed to express this new type of war game for the rest of us concept. Next, the magazines assigned their war game experts to review Patton. These experts were not the intended audience, so they knocked the game for lacking the.
Then, the expert war gamers warned the novice players away from Patton. Lesson: Sometimes the obvious isnt worth anything. Lesson Six In the late s Southpeak Entertainment showed me a licensed game design involving the cartoon The Jetsons. The Jetsons game was a standard space racing game using the characters as drivers.
My response was What a waste of a great license and a real disappointment for Jetsons fans. I suggested a Jetsons space road rally game where each player as either George Jetson, his wife Jane, his daughter Judy, his son Elroy, the dog Astro, or Rosie the robot housekeeper would navigate their space car throughout the Jetsons world, looking for clues leading to various objects to collect. Licenses attract an audience who know the property, its characters, venues, storylines, and interactions.
Licenses are valuable assets that need to be exploited as an advantage in your game. Lesson: Use to your advantage your license and its fans.
They have a straight path from the beginning to the end. There have been numerous attempts in both mediums to allow the reader or viewer to select the next path leading to one of several endings, but I would say these attempts are trying to be more gamelike nonlinear.
Games Have a Goal The goal in chess is for one player to force a winning situation by checkmate or having the opponent resign quit. The goal in many sports games is to outscore the opponent. The goal in Othello is to occupy the most spaces on the board. The goal in a game where you oversee a city or a planet may be to restore balance to a chaotic environment. Other noteworthy goals for future games might be based on losing for a greater good.
Like in the film Brewsters Millions, Richard Pryor must become penniless to inherit the family fortune. Each turn the player receives a set amount of money to invest unwisely, and after a set number of turns, the player must be broke.
Other altruistic goals could be the games goal, like self sacrifice, helping the less fortunate, or giving up all worldly possessions for a cause. Almost as bad would be a game where you need to roll dice three times and get a twelve two sixes each time to win. Worth playing this game?
No winning odds are 1 in 46, Design the game to be winnable or winnable through multiple paths easy to hard. In a multiplayer game, give each player equal strengths and weaknesses at the start. A good game lets each player have an equal chance and ability to win. You should spend time and pay attention to designing balance in your game. Let random events and the players decisions and actions determine the new game situation players current position.
Start of the Game All games have the players in some initial position or setup. In chess, its the opening position of the 16 white and 16 black pieces. In a world domination or strategy game, its each players currently occupied terrain. In a role-playing game RPGits the adventuring party consisting of various races, skills magic, fighting, learned skills like locksmithingand occupations soldier, priest, blacksmith preparing to start a quest.
In a sports game, its the teams or players starting formation or position. In an adventure game, it might be a puzzle to solve or deciding which direction to initially explore.
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