quarta-feira, 23 de setembro de 2020

The Taiwanese Connection - The Source For Many Unlicensed NES/Famicom Games

Joy Van - Twin Eagle
AVE - Double Strike

















Taiwan was called one of the four Asian Tigers (with Singapore, South Korea and Hong Kong), small countries which had developed economically very rapidly after from the 1960s to the present to compete with much larger countries.  Taiwan embraced technology, creating chip fabrication plants and becoming indispensable to the PC revolution.  Video game consoles were hardly overlooked by the island, and Nintendo was the largest publisher of console video games in Asia.  There was no protection system in place for the Nintendo Famicom, so Taiwan programming firms began developing unlicensed games for that console around 1986.

At the same time, Nintendo was becoming the largest publisher of video games in North America thanks to the success of the NES.  Third parties were naturally attracted to the increasingly successful system, but Nintendo was a hard business partner.  Nintendo required companies to buy cartridges manufactured by Nintendo, required cartridge orders in large unit quantities, limited the number of cartridges a company could release in a year and scrutinized the content of the games to be published.  After Tengen showed that it was possible to develop and release cartridges without Nintendo's sanction, other companies like AVE and Color Dreams entered the market as unlicensed publishers.  But they needed games to sell and the number of programmers who could handle Nintendo's console were limited, so sometimes they turned to Taiwan.

Read more »

terça-feira, 22 de setembro de 2020

Download Getting Over It With Bennett Foddy For PC

Getting Over It with Bennett Foddy


=======================================

Getting Over It Free Download:-



=======================================

Here are the Getting Over It with Bennett Foddy System Requirements (Minimum)


  • CPU SPEED: 2 GHz Dual Core CPU
  • RAM: 2 GB
  • OS: Windows Vista
  • VIDEO CARD: Intel HD Graphics 4000 or better
  • FREE DISK SPACE: 2 GB

Getting Over It with Bennett Foddy Recommended Requirements


  • CPU SPEED: 2.5 GHz Dual Core CPU
  • RAM: 4 GB
  • OS: Windows 10
  • VIDEO CARD: Geforce GTX 970/Radeon RX470 or better
  • PIXEL SHADER: 5.1
  • VERTEX SHADER: 5.1
  • FREE DISK SPACE: 2 GB
  • DEDICATED VIDEO RAM: 4096 MB

----------------------------------------------------------------------

THANK YOU SOO MUCH FOR VISITING OUR SITE.

domingo, 13 de setembro de 2020

Download Mario Odyssey For Switch

Download Mario Odyssey for Switch



 Download

 Download Super Mario Odyssey With Direct Link

 Download Part 1
 Download Part 2
 Download Part 3


 File Size : 5.4 GB
 Each Part Size : 2 GB 
Price : 10$
Password: After 10$ payment is done


Tech Book Face Off: Game Engine Black Book [Wolfenstein 3D Vs. Doom]

After all of the heavier reading I've been doing lately—machine learning, CUDA programming, fundamental Lisp programming, etc.—I wanted to kick back and read something a bit more relaxing and entertaining. Luckily, at just the right time a friend lent me a couple of books that promised to fit the bill perfectly: the Game Engine Black Books for Wolfenstein 3D and Doom, both by Fabien Sanglard. I grew up with these games, with them being my first and second PC FPS games. I played countless hours of these and other id Software games and other games that used id Software engines like Rise of the Triad, Heretic, and Hexen. I couldn't wait to dig into these books and see what was underneath the games that pleasantly wasted away the night hours of my youth.

Game Engine Black Book: Wolfenstein 3D front coverVS.Game Engine Black Book: Doom front cover

Game Engine Black Book: Wolfenstein 3D

I quickly realized what a beautiful book this was going to be with nearly full-page, glossy color pictures of the game and die photos of the Intel 80386-DX processor that ran the game when it first came out on May 5th, 1992. It was incredibly fun to just page through the book and look at the different pictures, and peruse the various explanations surrounding the pictures about the game engine's design.  It took a little while to settle down and actually start reading through the book.

This Black Book starts out with forwards by John Carmack, Tom Hall, and John Romero, and then there's a short introduction that gives an overview of the game market, the PC market, and the state of video games in that era. This was the time of Super Nintendo and Sega Genesis, and the i386 processors had been out for a few years by the time Wolfenstein 3D was released. The i386DX-33 was over four times more powerful than the Super Nintendo processor, and even more powerful i486 processors were coming to the market from mid-1989 to 1992. The video game consoles were primarily sprite-based hardware designs, so they weren't set up for running a 3-D game like Wolfenstein well at all. The PC was definitely the hardware of choice for this game, power-wise, but as Sanglard goes on to explain, it had its own downsides for game development.

The next chapter went into the state of the hardware that was targeted for Wolfenstein 3D in detail. The game was designed to run okay even on an i286 CPU, but even on the i386 processors, the compromises that were made in the design were astonishing. I had forgotten how bad things were back then with no hardware floating point units, only a handful of registers, and an utter mess of a memory hierarchy with real mode and segmented addressing. The state of video cards was not much better with no direct double-buffering in hardware, an essential feature for running smooth animation in a 3-D game. These VGA video cards were not set up to run games in the least, so double-buffering needed to be hacked and kludged together. Thankfully, that was possible to do. Sound was just reaching a tolerable level of performance at the time with AdLib and Sound Blaster cards, if you sprang for the add-in card and were able to get it working. Sound cards were rarely included in PC builds at the time, and I remember many a night fiddling with vaguely understandable IRQ and DMA settings before plug-n-play. Funny, now I actually know what those things mean, and what they're used for, but it's all handled automatically by the chipset and the OS.

That chapter was definitely a fun trip down memory lane. The next chapter switched gears and was all about the decidedly small team that made the game, especially by today's standards, and they completed the game in four months! There were four full-time people that founded id Software a year before starting Wolfenstein 3D. John Carmack and John Romero were the programmers, Adrian Carmack was the artist, and Tom Hall was the creative director. Another four people contributed, but did not work on the game full-time from start to finish. These were Jay Wilbur in business, Kevin Cloud as a computer artist, Robert Prince as the composer, and Jason Blochowiak as another programmer. The development studio was none other than the first floor of John Carmack's two floor apartment. Wild. The rest of the chapter went through the development tools they used and built to make the code, level maps, artwork, and sound assets of the game.

Chapter 4 gets into the real meat of the game architecture, and it's the longest chapter of the book. It was fascinating to learn about the ingenious performance hacks and algorithms they (mostly John Carmack) implemented to achieve playable frame rates with the hardware they had to work with. The game is restricted in numerous ways so that the code doesn't have to spend much time calculating things like clipping or player perspective. The floor and ceiling were solid colors, and all walls were orthogonal. The player couldn't look up or down, jump, or crouch, so walls were always perfectly vertical and the (obscured) horizon was always dead-center on the screen. The only polygons in the game were the walls, which were rectangles. Everything else was a sprite. The maximum view port was smaller than full-screen at 304x152 pixels, and it could be adjusted down from there if needed for a faster frame rate on slower hardware. These along with plenty of other restrictions made the game playable on the i286, although the best experience was still on an i386DX or better CPU.

The other common optimization was to code critical loops and code sequences in x86 assembly. Quite a few code listings in the book are just lines of assembly code, mostly of moving values around in various registers. Dropping down to assembly was necessary because compilers at the time weren't the best at outputting even remotely optimized code, and a smart developer could arrange assembly code much better than any compiler could. This deficiency in the compiler shouldn't all be blamed on it, for x86 assembly was truly horrendous. I am at the same time in awe of John Carmack for doing what he did with the code and eternally thankful that I never had to do x86 assembly programming like that myself. Even today it's something to be avoided because the complexity is now nearly unmanageable and compilers have made huge strides besides, but oh my gawd, that assembly programming must have been the most awful, tedious exercise in memorizing and recalling useless instruction set trivia.

This whole chapter was pure gold, covering everything from the renderer in detail to the enemy AI to the audio programming and sound effects. The writing wasn't always the greatest, but explanations were at least insightful, and I could always parse out what Sanglard meant, even with numerous typos and grammatical errors. Normally these kinds of mistakes would be obnoxious, but the book was so full of great pictures, diagrams, and information that was completely engrossing to me that I was willing to overlook that shortcoming.

The last few short chapters were also quite interesting, and a nice way to wrap up the book. Chapter 5 described the sequel to Wolfenstein 3D, Spear of Destiny. Chapter 6 covered a number of ports to other systems, including Super Nintendo (heavily compromised), Jaguar, iPhone, and VR ports. Chapter 7 concluded with a little information about the successors to Wolfenstein 3D and where each of the designers and developers are now. The whole book was an excellent tour of a classic game that changed the video game industry forever, and if you're at all interested in the details of one of the games that started the FPS genre, you have to read this book.

Game Engine Black Book: Doom

This Black Book followed a very similar format to the Wolfenstein 3D book with the same result of an incredible experience digging through the game engine of one of the most influential PC games ever made. I went through waves of nostalgia as I paged through pictures of the Doom game world and explanations of how it calculated and rendered the intense game that consumed hours upon hours of my free time growing up. It was fascinating to see how all of it was implemented, and on such meager hardware, too! id Software achieved an incredible amount of performance and features with their idTech 1 engine that they created for Doom.

The book starts off with forwards by John Carmack and Dave Taylor and a short introduction just to wet your appetite. Then it jumps into the hardware that Doom was designed for in chapter 2. Doom was able to run on an i386, but by 1993 when Doom was being developed, the i486 was becoming affordable and was over 2x faster than the equivalent frequency i386, so that was the new target system. Everything else was improving rapidly as well. Video cards took a big step up in performance with the VESA VL-Bus and tighter component integration on the cards. Sound cards became even more fragmented, unfortunately, but sound quality was improving by leaps and bounds. Networking was also becoming possible by this time with multiple ways to connect PCs for multiplayer co-op and deathmatch play. Finally, compilers had improved to the point where it wasn't necessary to do nearly everything in assembly. The Watcom compiler allowed id Software to code Doom almost entirely in C, freeing the developers to think at a higher level and implement more features more rapidly.

Chapter 3 is entirely new because id Software used an entirely different development environment for Doom. Instead of developing everything on unstable DOS PCs, they took the chance on using expensive NeXT workstations. Even a fairly basic NeXTstation cost $4,995 in 1991, and a NeXTcube ran $12,395! It turned out to be worth it, though, because these workstations were rock-solid and allowed John Carmack and the other developers to make incredible progress instead of constantly fighting with crashing machines and a poor development environment. This chapter did a great job going through the architecture and benefits of the NeXT systems, and how id Software used them to full effect.

The next chapter was about the team and tools, like chapter 3 in the Wolfenstein 3D book. Things had changed dramatically, with the team moving to Dallas, TX and growing to fourteen people by the end of development. The tools were evolving, too, with some of the character sprites and animation done using stop motion capture, and the map editor (DoomED) taking on new features to support the multitude of new capabilities in the game engine. Walls in the game no longer needed to be orthogonal, although they still had to be vertical for rendering to be fast enough. Floors and ceilings could change height to create steps, platforms, and other environmental features. Various kinds of traps and ambushes were also possible now. It's quite amazing how many features were added to idTech 1 when compared to the Wolf3D engine. These new features, especially the non-orthogonal walls and varying heights, required a more efficient data structure for the maps, and the BSP (Binary Space Partitioning) node tree was commandeered for the job.

Nearly half of the book is taken up by chapter 5 on the idTech 1 game engine. This chapter is just a monster of awesome information about the engine. It goes through every detail from the game tic design and use of fixed-point arithmetic to sound propagation and enemy AI. The section on the 3D renderer was especially interesting and detailed. There are great explanations on how the environment was drawn with its additional complexity, texture mapping with perspective correction, sprite clipping and animation, and diminished lighting to give the game its intense horror movie feel. This renderer section in particular was so interesting that it made me want to go implement a bunch of the algorithms myself just to be able to recreate them and see them in action. It looks like it would be immensely satisfying.

The last chapter described in fairly good detail how a number of ports of Doom were done on other game consoles. The console ports included the Atari Jaguar, Sega 32X, Super Nintendo, Sony PlayStation, 3DO, and Sega Saturn, and both the system architectures and Doom engine implementations are described. I was in high school during this era of the great console wars, although I never played Doom on any of them, just the excellent experience of the PC. I had forgotten how different these console architectures were, and some of the design decisions that went into those systems were truly remarkable...and strange. The sections on the Super Nintendo and PlayStation ports were my favorites. The Super Nintendo would have never been able to run Doom on its own, but with the extra power of the SuperFX chip that was used in Star Fox and a few other games, it was able to pull it off reasonably well. The PlayStation port was the most faithful of the ports, and even added some cool new features like colored ambient lighting. Of all of these systems, the PlayStation was exceptionally powerful for making great games. Even though other systems might have looked more powerful on paper, they all had disadvantages and unfortunate design decisions that handicapped them while the PlayStation was so easy to develop for that its potential could consistently be achieved in practice.

I enjoyed this book as much, if not more than the Wolf3D Black Book. From the beautiful full-color pictures to the detailed explanations of technical feature implementations to the well-chosen code listings sprinkled throughout the book, this was an incredibly fun guided tour of a legendary game engine. I devoured this book, and through it all, I wanted to do two things: go back and play through Doom again and re-implement some of those rendering algorithms for myself. I can't think of higher praise for a book, so if you've ever played Doom and want to know how it works, you need to go treat yourself to this book and the Wolfenstein 3D Black Book, too.

sexta-feira, 4 de setembro de 2020

Lost Secret Of The Rainforest - Abducted!

Written by Reiko

Adam's Journal #1: "We're finally here in Peru! I'm so excited to be able to help my dad with his project of setting up sustainable industries for the native peoples here. I wonder what kinds of animals I'll get to see while we're here? The rainforest is full of so much variety. I can't wait to get started!"


This guy's totally shady.

Adam and his father Noah have just landed in Peru, but of course we have to go through customs before we can start exploring. In the introduction, I forgot to mention that the shady surveyor's character has a couple of actual voiced lines, which is an interesting contrast to most of the other dialogue, which is only text. He says, "This place is a sewer" and, after bumping into our ride, "Watch the suit!" before brushing himself off and stalking away to the right.

When it's Adam's turn, I open the passport in his inventory and show it to the customs officer [10 points], who stamps it, waves Adam through, and then promptly puts his head down on his desk and appears to take a nap. Nobody else is waiting in the customs line, after all.




Our ride is waiting for us.

Nearby, there's a native holding a sign saying Noah and Adam Greene, so he's clearly waiting for us. I talk to him [1] and he introduces himself to us as Nicanor, from the Ecology Emergency Network, the organization that Noah is working with. He says there's a problem with the supplies, and takes out a list, while Noah goes over to check what's there. This leaves Adam at loose ends.

I look around and find two women supposedly selling fruit pops at a stand nearby, but they say they're on break and rudely shoo Adam away. I can't go into the town yet, either, because Noah will call Adam back, but there's really nothing else in the area to do. It takes me an embarrassingly long time to realize that there's an exit off the right side of the screen (where the shady surveyor disappeared earlier).

In the second area, a grungy dock, after Adam walks in, I overhear a conversation between the shady surveyor and another guy, Gonzales. The surveyor orders him to get "the stuff" loaded so they can get out of there. Then he disappears onto the ship moored at the dock. There's also an old guy fishing on another pier near where I entered, and two other guys having a hushed conversation behind some crates. I also see a run-down warehouse and a large pile of logs from the rainforest, along with a flatbed truck loaded with more logs. I can't seem to get close enough to talk to the guy fishing, even though he doesn't appear to be all that far away.


Right, "fresh off the boat" is exactly what we don't want to be.

If I walk into the area far enough, another guy appears from the same direction I came from, and accosts me, carrying a bird on his arm. He offers to sell me the bird if I give him the money I have. Adam asks how much, and the guy asks how much money he has. Adam wisely says, "I don't think I should tell you that." The guy just shrugs and says I should give him the money I have if I want to buy the bird.

I have the option to refuse, but I decide to go ahead with it, and give the man my money [5]. When the man hands over the bird, Adam immediately releases it, telling it to fly home. The man is aghast, but Adam reminds him that he sold the bird. The man shrugs and wanders off, and that seems to be the end of it. Probably I will encounter the bird at some point later, though, and it will be grateful that Adam freed it.


Who's "Mr. Slaughter"? No one I want to meet!

I then discover almost by accident that I can climb up on the crates and eavesdrop on the nearby conversation. One guy seems to be trying to recruit the other one for Cibola, the company that the shady surveyor mentioned. They mentioned someone they call "Senor Slaughter," which may well refer to the surveyor guy himself.

The nearby ship, which reads "Cibol" (Cibola) has an arm with a rope net that is periodically raised and lowered. I can make Adam walk over onto the net, which causes him to get caught in it when it's raised next. The guy loading the ship gets us out, but tells us to beat it, or we'll get sent to "Mr. Slaughter". Guess he's the one to watch out for.


Here's a way to stuff educational content onto the screen without lecturing.

I don't see anything else to do here, so I go back to the original screen. Noah calls Adam over and says he found something mailed to him. I open the package [5] and find some kind of handheld computer which Noah explains is an environmental scanner prototype. It's called an Ecorder, and Adam's supposed to test it out. Noah suggests there's something about the launch I should scan. As part of his explanation, he already scanned the nearby canoe, so I'm not sure what he means by "launch".


Picking up someone else's garbage. It won't be the last time.


I also notice another shady guy lurking by the now-abandoned fruit pop stall, but I can do nothing with him. So I return to the dock to see if there's anything I can scan there, and find a tourist taking pictures. Even though he doesn't answer when I try talking to him [1], I get a point for some reason. Then I notice that he's dropped something. I try to pick it up, but Adam says he doesn't want that garbage, and I should bag it instead. I use the recycle icon on it [5] to get rid of it.

I go into the ecorder to see what all it does. The previously-scanned item was Town Runoff, about the garbage from the town that ends up in the rivers. I also try playing the "test myself" game, which randomly shows pictures from the database along with two choices. I get most of them right even though I haven't seen any of them in the game yet, and I get a bunch of points [46] when I finish the game.

I go back and forth again, and realize I can use a plank walkway to get to the end of the little pier where the man is fishing. I talk to him [1], and he talks briefly about how he doesn't like the way the fish look, and how there used to be so many more fish in the river years ago, before all the people came.


The scanned result of the ship's leak.

Finally I realize "launch" means the ship moored at the dock. The ecorder lights up when I move it over a hole with liquid spewing out of it, and records the "River Traffic" item [10]. Looks like the ship has a fuel leak, which is also contributing to river pollution.


I knew that other guy was shady too.

When I return to see if Noah and Nicanor are ready to go to town yet, suddenly the shady guy that had been lurking nearby runs over, grabs Noah's suitcase, and runs off toward town. Uh-oh, he's a thief!

Noah decides he's going to have to go to the embassy to get a passport, so Nicanor takes him there, leaving Adam to watch the supplies. (How old is he again?) Adam is tired from the trip, so he gets into the nearby canoe and falls asleep.


Adam's not being a very good guard for the supplies...

Suddenly, things get weird. Two creatures that look like otters, who address each other as Orpheus and Morpheus, appear in the water. One chews through the rope holding the canoe, and while Adam sleeps, together they push the boat away from the dock, along the river, and into the rainforest. Apparently Adam sleeps all night, since the screen darkens and then brightens again. At one point, a monkey appears and peers at the canoe with the sleeping child, then wanders off again. Finally, Adam wakes up, and the animals begin to address him directly.


Animals seem to know that Adam will help them.

Morpheus says that the Forest Heart needs help from a human child, and he looked like a good one, so they picked him. Orpheus has a gift to give us, but he's shy and needs persuading, so Adam needs to do something to coax him out.

First I scan the screen and find the Understory, Littering, Forest Floor, Stilt Root, and River Otter items [5]. So I was right about the creatures being otters. Then I talk to Orpheus [1]. Adam apologizes for being loud, and Orpheus swims a bit closer. I talk to him again [1], and Adam reassures him that he won't hurt him or anything.


The amulet brought by the otter.

Then Orpheus swims right up to the side of the canoe and waits for me to take the necklace around his neck, which I do [5]. It's a beautifully carved amulet, which the otters inform me is Forest Heart's amulet, and Adam needs to journey to her village to find out more. The otters disappear into the water after pushing the canoe the rest of the way over to solid land.

Now what? Well, the Littering item was clearly because there's quite a lot of junk scattered around. I trash five items [5] and also find a sticky leaf to take [5].

That's all for that screen, so I move to the right and immediately encounter the monkey I saw earlier, who accuses me of cutting down trees. Adam assures him that he's by himself and hasn't done anything to the trees, and asks about those who have. The monkey calls them yellow hats and says they turned his home and food into smoke. Then he angrily stalks away. Apparently the logging operation that generated all those logs I saw earlier has done some significant damage to the forest.


As hostile as this sounds, I'm glad the monkey didn't do anything to Adam while he was sleeping.

New scanned items: Buttress, Cecropia Tree, Logging [3]. The tree that fills most of the screen is huge, with twisty roots. Nearby there's a recent campfire still leaking smoke, with a small stump and a chopped up log. The huge tree looks very climbable, but insects swarm Adam when I make an attempt. I use the sticky, sap-covered leaf on Adam [5], which causes him to rub the sap all over himself, commenting that it's stinky, so the bugs should leave him alone. Now I can have him climb the tree to another screen above.

Next time we'll find out what's up there and how that gets us closer to the Forest Heart. Adam seems very calm at having woken up in a different place than he went to sleep in, and at basically having been abducted by otters and left to his own devices deep in the rainforest with no supplies. Maybe he figures he can always get animals to help him if he needs something. It wouldn't be so easy for the rest of us.

Score: 121/1000
Scanned items: 10/82
Inventory: passport, Ecorder, Forest Heart amulet, leaf with sticky sap

Session Time: 1 hour 15 minutes
Total Time: 1 hour 15 minutes

Note Regarding Spoilers and Companion Assist Points: There's a set of rules regarding spoilers and companion assist points. Please read it here before making any comments that could be considered a spoiler in any way. The short of it is that no points will be given for hints or spoilers given in advance of me requiring one. Please...try not to spoil any part of the game for me...unless I really obviously need the help...or I specifically request assistance. In this instance, I've not made any requests for assistance. Thanks!

Quando eu te falei em amor

Quando os meus olhos te tocaram
Eu senti que encontrara
A outra, metade de mim
Tive medo de acordar
Como se vivesse um sonho
Que não pensei em realizar
E a força do desejo
Faz me chegar perto de ti

Quando eu te falei em amor
Tu sorriste para mim
E o mundo ficou bem melhor
Quando eu te falei em amor
Nos sentimos os dois
Que o amanha vem depois
E não no fim

Estas linhas que hoje escrevo
São do livro da memória
Do que eu sinto por ti
E tudo o que tu me das
É parte da história que eu ainda não vivi
E a força do desejo
Faz me chegar de ti

Quando eu te falei em amor
Tu sorriste para mim
E o mundo ficou bem melhor
Quando eu te falei em amor
Nos sentimos os dois
Que o amanha vem depois e não no fim

André Sardet

Collide

The dawn is breaking
A light shining through
You're barely waking
And I'm tangled up in you
Yeah

But I'm open, you're closed
Where I follow, you'll go
I worry I won't see your face
Light up again

Even the best fall down sometimes
Even the wrong words seem to rhyme
Out of the doubt that fills my mind
I somehow find, you and I collide

I'm quiet, you know
You make a first impression
I've found I'm scared to know
I'm always on your mind

Even the best fall down sometimes
Even the stars refuse to shine
Out of the back you fall in time
I somehow find, you and I collide

Don't stop here
I've lost my place
I'm close behind

Even the best fall down sometimes
Even the wrong words seem to rhyme
Out of the doubt that fills your mind

You finally find, you and I collide
You finally find You and I collide
You finally findYou and I collide

Howie Day


Everything

You're a falling star, You're the get away
car.

You're the line in the sand when I go too
far.

You're the swimming pool, on an August day.
And You're the perfect thing to see.

And you play it coy, but it's kinda cute.
Ah, When you smile at me you know exactly what you
do.

Baby don't pretend, that you don't know it's
true.

Cause you can see it when I look at you.

And in this crazy life, and through these crazy
times

It's you, it's you, You make me sing.
You're every line, you're every word, you're
everything.


You're a carousel, you're a wishing well,
And you light me up, when you ring my bell.
You're a mystery, you're from outer space,
You're every minute of my everyday.

And I can't believe, uh that I'm your man,
And I get to kiss you baby just because I
can.

Whatever comes our way, ah we'll see it
through,

And you know that's what our love can do.

And in this crazy life, and through these crazy
times

It's you, it's you, You make me sing
You're every line, you're every word, you're
everything.


So, La, La, La, La, La, La, La
So, La, La, La, La, La, La, La

And in this crazy life, and through these crazy
times

It's you, it's you, You make me sing.
You're every line, you're every word, you're
everything.

You're every song, and I sing along.
Cause you're my everything.
yeah, yeah

So, La, La, La, La, La, La, La
So, La, La, La, La, La, La, La

Michael Bublé