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Papiamento (English: / ˌ p æ p i ə ˈ m ɛ n t oʊ, ˌ p ɑː-/) [3] or Papiamentu (English: /-t uː /; Dutch: Papiaments [ˌpaːpijaːˈmɛnts]) is a Portuguese-based creole language spoken in the Dutch Caribbean. It is the most widely spoken language on the ABC islands (Aruba, Bonaire, and Curaçao). [4]
Duke is one of the featured characters in the 1985 G.I. Joe: A Real American Hero computer game. [54] Duke is featured as a playable character in the 1991 G.I. Joe video game created for the Nintendo Entertainment System. [55] He is also featured as a playable character in the 1992 game G.I. Joe: The Atlantis Factor, [56] and in the G.I. Joe ...
The new version of Duke (2nd Edition) had a different headsculpt from the Target Exclusive Duke (1st Edition). The Snake Eyes figure introduced a new variation on the trademark G.I. Joe scar by putting the scar over the figure's left eye instead of on his right cheek as had traditionally been the case during the vintage era (1964–1978) of G.I ...
This category page lists people who speak or spoke Papiamento with some degree of fluency, but not necessary as native speakers. Subcategories This category has only the following subcategory.
Jackson's voice can also be heard in the music for two games. He incorporated his voice into the music for a level of Apogee's Stargunner, and used it as a sampled instrument in a track for Shadow Warrior. In 2016, Jackson worked with Gearbox Software to create new songs for the Duke Nukem 3D: 20th Anniversary World Tour game. [4]
The title of Cashman’s 1981 creation, “Talkin’ Baseball,” became a part of the sport’s lexicon. Its words always come back to three men: Willie Mays, Mickey Mantle and the Duke Snider.
Jon St. John is an American voice actor, former radio personality and ordained minister. He is best known for his voice roles such as Duke Nukem in the Duke Nukem video game series and Big the Cat and E-123 Omega in the Sonic the Hedgehog video game franchise.
Academic research on video game music began in the late 1990s, [3] and developed through the mid 2000s. Early research on the topic often involved historical studies of game music, or comparative studies of video game music and film music (see, for instance, Zach Whalen's article "Play Along – An Approach to Videogame Music" which includes both). [4]