As a physical object, a book is a stack of rectangular pages oriented with one edge tied, sewn, or otherwise fixed together and bound to the flexible spine of a protective cover of heavier inflexible material. The technical term for this physical arrangement is codex. In the history of hand-held physical supports for extended written compositions or records, the codex replaces its immediate predecessor, the scroll. A single sheet in a codex is a leaf, each side of a leaf is a page; as an intellectual object, a book is prototypically a composition of such great length that it takes a considerable investment of time to compose and a still considerable, though not so extensive, investment of time to read. This sense of book has an unrestricted sense. In the restricted sense, a book is a self-sufficient section or part of a longer composition, a usage that reflects the fact that, in antiquity, long works had to be written on several scrolls, each scroll had to be identified by the book it contained.
So, for instance, each part of Aristotle's Physics is called a book, as of course the Bible encompasses many different books. In the unrestricted sense, a book is the compositional whole of which such sections, whether called books or chapters or parts, are parts; the intellectual content in a physical book need not be a composition, nor be called a book. Books can consist only of drawings, engravings, or photographs, or such things as crossword puzzles or cut-out dolls. In a physical book the pages can be left blank or can feature an abstract set of lines as support for on-going entries, i.e. an account book, an appointment book, a log book, an autograph book, a notebook, a diary or day book, or a sketch book. Some physical books are made with pages thick and sturdy enough to support other physical objects, like a scrapbook or photograph album. Books may be distributed in electronic form as other formats. Although in ordinary academic parlance a monograph is understood to be a specialist academic work, rather than a reference work on a single scholarly subject, in library and information science monograph denotes more broadly any non-serial publication complete in one volume or a finite number of volumes, in contrast to serial publications like a magazine, journal, or newspaper.
An avid reader or collector of books or a book lover is a bibliophile or colloquially, "bookworm". A shop where books are bought and sold is a bookstore. Books are sold elsewhere. Books can be borrowed from libraries. Google has estimated that as of 2010 130,000,000 distinct titles had been published. In some wealthier nations, the sale of printed books has decreased because of the use of e-books, though sales of e-books declined in the first half of 2015; the word book comes from Old English "bōc", which in turn comes from the Germanic root "*bōk-", cognate to "beech". In Slavic languages "буква" is cognate with "beech". In Russian and in Serbian and Macedonian, the word "букварь" or "буквар" refers to a primary school textbook that helps young children master the techniques of reading and writing, it is thus conjectured. The Latin word codex, meaning a book in the modern sense meant "block of wood"; when writing systems were created in ancient civilizations, a variety of objects, such as stone, tree bark, metal sheets, bones, were used for writing.
A tablet is a physically robust writing medium, suitable for casual transport and writing. Clay tablets were flattened and dry pieces of clay that could be carried, impressed with a stylus, they were used as a writing medium for writing in cuneiform, throughout the Bronze Age and well into the Iron Age. Wax tablets were pieces of wood covered in a thick enough coating of wax to record the impressions of a stylus, they were the normal writing material in schools, in accounting, for taking notes. They had the advantage of being reusable: the wax could be melted, reformed into a blank; the custom of binding several wax tablets together is a possible precursor of modern bound books. The etymology of the word codex suggests that it may have developed from wooden wax tablets. Scrolls can be made from papyrus, a thick paper-like material made by weaving the stems of the papyrus plant pounding the woven sheet with a hammer-like tool until it is flattened. Papyrus was used for writing in Ancient Egypt as early as the First Dynasty, although the first evidence is from the account books of King Nefertiti Kakai of the Fifth Dynasty.
Papyrus sheets were glued together to form a scroll. Tree bark such as lime and other materials were used. According to Herodotus, the Phoenicians brought writing and papyrus to Greece around the 10th or 9th century BC; the Greek word for papyrus as writing material and book come from the Phoenician port town Byblos, through which papyrus was exported to Greece. From Greek we derive the word tome, which meant a slice or piece and from there began to denote "a roll of papyrus". Tomus was used by the Latins with the same meaning as volumen. Whether made from papyrus, parchment, or paper, scrolls were the dominant form of book in the Hellenistic, Chinese and Macedonian culture
A forest is a large area dominated by trees. Hundreds of more precise definitions of forest are used throughout the world, incorporating factors such as tree density, tree height, land use, legal standing and ecological function. According to the used Food and Agriculture Organization definition, forests covered 4 billion hectares or 30 percent of the world's land area in 2006. Forests are the dominant terrestrial ecosystem of Earth, are distributed around the globe. Forests account for 75% of the gross primary production of the Earth's biosphere, contain 80% of the Earth's plant biomass. Net primary production is estimated at 21.9 gigatonnes carbon per year for tropical forests, 8.1 for temperate forests, 2.6 for boreal forests. Forests at different latitudes and elevations form distinctly different ecozones: boreal forests near the poles, tropical forests near the equator and temperate forests at mid-latitudes. Higher elevation areas tend to support forests similar to those at higher latitudes, amount of precipitation affects forest composition.
Human society and forests influence each other in both negative ways. Forests serve as tourist attractions. Forests can affect people's health. Human activities, including harvesting forest resources, can negatively affect forest ecosystems. Although forest is a term of common parlance, there is no universally recognised precise definition, with more than 800 definitions of forest used around the world. Although a forest is defined by the presence of trees, under many definitions an area lacking trees may still be considered a forest if it grew trees in the past, will grow trees in the future, or was designated as a forest regardless of vegetation type. There are three broad categories of forest definitions in use: administrative, land use, land cover. Administrative definitions are based upon the legal designations of land, bear little relationship to the vegetation growing on the land: land, designated as a forest is defined as a forest if no trees are growing on it. Land use definitions are based upon the primary purpose.
For example, a forest may be defined as any land, used for production of timber. Under such a land use definition, cleared roads or infrastructure within an area used for forestry, or areas within the region that have been cleared by harvesting, disease or fire are still considered forests if they contain no trees. Land cover definitions define forests based upon the type and density of vegetation growing on the land; such definitions define a forest as an area growing trees above some threshold. These thresholds are the number of trees per area, the area of ground under the tree canopy or the section of land, occupied by the cross-section of tree trunks. Under such land cover definitions, an area of land can only be known as forest if it is growing trees. Areas that fail to meet the land cover definition may be still included under while immature trees are establishing if they are expected to meet the definition at maturity. Under land use definitions, there is considerable variation on where the cutoff points are between a forest and savanna.
Under some definitions, forests require high levels of tree canopy cover, from 60% to 100%, excluding savannas and woodlands in which trees have a lower canopy cover. Other definitions consider savannas to be a type of forest, include all areas with tree canopies over 10%; some areas covered in trees are defined as agricultural areas, e.g. Norway spruce plantations in Austrian forest law when the trees are being grown as Christmas trees and below a certain height; the word forest comes from Middle English, from Old French forest "forest, vast expanse covered by trees". A borrowing of the Medieval Latin word foresta "open wood", foresta was first used by Carolingian scribes in the Capitularies of Charlemagne to refer to the king's royal hunting grounds; the term was not endemic to Romance languages. The exact origin of Medieval Latin foresta is obscure; some authorities claim the word derives from the Late Latin phrase forestam silvam, meaning "the outer wood". Frankish *forhist is attested by Old High German forst "forest", Middle Low German vorst "forest", Old English fyrhþ "forest, game preserve, hunting ground", Old Norse fýri "coniferous forest", all of which derive from Proto-Germanic *furhísa-, *furhíþija- "a fir-wood, coniferous forest", from Proto-Indo-European *perkwu- "a coniferous or mountain forest, wooded height".
Uses of the word "forest" in English to denote any uninhabited area of non-enclosure are now considered archaic. The word was introduced by the Norman rulers of England as a legal term denoting an uncultivated area set aside for hunting by feudal nobility; these hunting forests were not neces
A video game is an electronic game that involves interaction with a user interface to generate visual feedback on a two- or three-dimensional video display device such as a TV screen, virtual reality headset or computer monitor. Since the 1980s, video games have become an important part of the entertainment industry, whether they are a form of art is a matter of dispute; the electronic systems used to play video games are called platforms. Video games are developed and released for one or several platforms and may not be available on others. Specialized platforms such as arcade games, which present the game in a large coin-operated chassis, were common in the 1980s in video arcades, but declined in popularity as other, more affordable platforms became available; these include dedicated devices such as video game consoles, as well as general-purpose computers like a laptop, desktop or handheld computing devices. The input device used for games, the game controller, varies across platforms. Common controllers include gamepads, mouse devices, the touchscreens of mobile devices, or a person's body, using a Kinect sensor.
Players view the game on a display device such as a television or computer monitor or sometimes on virtual reality head-mounted display goggles. There are game sound effects and voice actor lines which come from loudspeakers or headphones; some games in the 2000s include haptic, vibration-creating effects, force feedback peripherals and virtual reality headsets. In the 2010s, the commercial importance of the video game industry is increasing; the emerging Asian markets and mobile games on smartphones in particular are driving the growth of the industry. As of 2015, video games generated sales of US$74 billion annually worldwide, were the third-largest segment in the U. S. entertainment market, behind broadcast and cable TV. Early games used interactive electronic devices with various display formats; the earliest example is from 1947—a "Cathode ray tube Amusement Device" was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, issued on 14 December 1948, as U. S.
Patent 2455992. Inspired by radar display technology, it consisted of an analog device that allowed a user to control a vector-drawn dot on the screen to simulate a missile being fired at targets, which were drawings fixed to the screen. Other early examples include: The Nimrod computer at the 1951 Festival of Britain; each game used different means of display: NIMROD used a panel of lights to play the game of Nim, OXO used a graphical display to play tic-tac-toe Tennis for Two used an oscilloscope to display a side view of a tennis court, Spacewar! used the DEC PDP-1's vector display to have two spaceships battle each other. In 1971, Computer Space, created by Nolan Bushnell and Ted Dabney, was the first commercially sold, coin-operated video game, it used a black-and-white television for its display, the computer system was made of 74 series TTL chips. The game was featured in the 1973 science fiction film Soylent Green. Computer Space was followed in 1972 by the first home console. Modeled after a late 1960s prototype console developed by Ralph H. Baer called the "Brown Box", it used a standard television.
These were followed by two versions of Atari's Pong. The commercial success of Pong led numerous other companies to develop Pong clones and their own systems, spawning the video game industry. A flood of Pong clones led to the video game crash of 1977, which came to an end with the mainstream success of Taito's 1978 shooter game Space Invaders, marking the beginning of the golden age of arcade video games and inspiring dozens of manufacturers to enter the market; the game inspired arcade machines to become prevalent in mainstream locations such as shopping malls, traditional storefronts and convenience stores. The game became the subject of numerous articles and stories on television and in newspapers and magazines, establishing video gaming as a growing mainstream hobby. Space Invaders was soon licensed for the Atari VCS, becoming the first "killer app" and quadrupling the console's sales; this helped Atari recover from their earlier losses, in turn the Atari VCS revived the home video game market during the second generation of consoles, up until the North American video game crash of 1983.
The home video game industry was revitalized shortly afterwards by the widespread success of the Nintendo Entertainment System, which marked a shift in the dominance of the video game industry from the United States to Japan during the third generation of consoles. A number of video game developers emerged in Britain in the early 1980s; the term "platform" refers to the specific combination of electronic components or computer hardware which, in conjunction with software, allows a video game to operate. The term "system" is commonly used; the distinctions below are not always clear and there may be games that bridge one or more platforms. In addition to laptop/desktop computers and mobile devices, there are other devices which have the ability to play games but are not video game machines, such as PDAs and graphing calculators. In common use a "PC game" refers to a form of media that involves a player interacting with a personal computer conne
Video game music
Video game music is the soundtrack that accompanies video games. Early video game music was once limited to simple melodies of early sound synthesizer technology; these limitations inspired the style of music known as chiptunes, which combines simple melodic styles with more complex patterns or traditional music styles, became the most popular sound of the first video games. With advances in technology, video game music has grown to include the same breadth and complexity associated with television and film scores, allowing for much more creative freedom. While simple synthesizer pieces are still common, game music now includes full orchestral pieces and popular music. Music in video games can be heard over a game’s title screen, options menu, bonus content, as well as during the entire gameplay. Modern soundtracks can change depending on a player's actions or situation, such as indicating missed actions in rhythm games. Video game music can be one of two options: original or licensed. In order to create or collect this music, teams of composers, music directors, music supervisors must work with the game developers and game publishers.
Many of the most notable original sophie game composers have been from Japan, including Nobuo Uematsu, Koji Kondo, Yuzo Koshiro, Yoko Shimomura, Junichi Masuda, Hip Tanaka, Masato Nakamura, Koichi Sugiyama, Yasunori Mitsuda, Michiru Yamane, Yuu Miyake, Takenobu Mitsuyoshi, Manabu Namiki, Shinji Hosoe, Hiroshi Kawaguchi. Notable Western game composers working today include Jeremy Soule, Jesper Kyd, Marty O' Donnell, Jason Graves, Austin Wintory, James Hannigan, Garry Schyman, Peter McConnell, some of whom work in film and television alongside video games. Today, original composition has included the work of film composers Harry Gregson-Williams, Trent Reznor, Hans Zimmer, Mark Rutherford, Josh Mancell, Steve Jablonsky, Michael Giacchino; the popularity of video game music has expanded education and job opportunities, generated awards, allowed video game soundtracks to be commercially sold and performed in concert's. At the time video games had emerged as a popular form of entertainment in the late 1970s, music was stored on physical medium in analog waveforms such as compact cassettes and phonograph records.
Such components were expensive and prone to breakage under heavy use making them less than ideal for use in an arcade cabinet, though in rare cases, they were used. A more affordable method of having music in a video game was to use digital means, where a specific computer chip would change electrical impulses from computer code into analog sound waves on the fly for output on a speaker. Sound effects for the games were generated in this fashion. An early example of such an approach to video game music was the opening chiptune in Tomohiro Nishikado's Gun Fight. While this allowed for inclusion of music in early arcade video games, it was monophonic, looped or used sparingly between stages or at the start of a new game, such as the Namco titles Pac-Man composed by Toshio Kai or Pole Position composed by Nobuyuki Ohnogi; the first game to use a continuous background soundtrack was Tomohiro Nishikado's Space Invaders, released by Taito in 1978. It had four descending chromatic bass notes repeating in a loop, though it was dynamic and interacted with the player, increasing pace as the enemies descended on the player.
The first video game to feature continuous, melodic background music was Rally-X, released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay. The decision to include any music into a video game meant that at some point it would have to be transcribed into computer code by a programmer, whether or not the programmer had musical experience; some music was original, some was public domain music such as folk songs. Sound capabilities were limited; as advances were made in silicon technology and costs fell, a definitively new generation of arcade machines and home consoles allowed for great changes in accompanying music. In arcades, machines based on the Motorola 68000 CPU and accompanying various Yamaha YM programmable sound generator sound chips allowed for several more tones or "channels" of sound, sometimes eight or more; the earliest known example of this was Sega's 1980 arcade game Carnival, which used an AY-3-8910 chip to create an electronic rendition of the classical 1889 composition "Over The Waves" by Juventino Rosas.
Konami's 1981 arcade game Frogger introduced a dynamic approach to video game music, using at least eleven different gameplay tracks, in addition to level-starting and game over themes, which change according to the player's actions. This was further improved upon by Namco's 1982 arcade game Dig Dug, where the music stopped when the player stopped moving. Dig Dug was composed by Yuriko Keino, who composed the music for other Namco games such as Xevious and Phozon. Sega's 1982 arcade game Super Locomotive featured a chiptune rendition of Yellow Magic Orchestra's "Rydeen". Home console systems had a comparable upgrade in sound ability beginning with the ColecoVision in 1982 capable of four channels. However, more notable was the Japanese release of the Famicom in 1983, released in the US as the Nintendo Entertainment System in 1985, it was capable of one being capable of simple PCM sampled sound. The home computer Commodore 64 released in 1982 was capable of early forms of filtering effects, different types of waveforms and the undocumented abilit
The future is the time after the present. Its arrival is considered inevitable due to the laws of physics. Due to the apparent nature of reality and the unavoidability of the future, everything that exists and will exist can be categorized as either permanent, meaning that it will exist forever, or temporary, meaning that it will end. In the Occidental view, which uses a linear conception of time, the future is the portion of the projected time line, anticipated to occur. In special relativity, the future is considered the future light cone. In the philosophy of time, presentism is the belief that only the present exists and the future and the past are unreal. Religions consider the future when they address issues such as karma, life after death, eschatologies that study what the end of time and the end of the world will be. Religious figures such as prophets and diviners have claimed to see into the future. Future studies, or futurology, is the science and practice of postulating possible futures.
Modern practitioners stress the importance of alternative and plural futures, rather than one monolithic future, the limitations of prediction and probability, versus the creation of possible and preferable futures. The concept of the future has been explored extensively in cultural production, including art movements and genres devoted to its elucidation, such as the 20th century movement futurism. In physics, time is a fourth dimension. Physicists argue that spacetime can be understood as a sort of stretchy fabric that bends due to forces such as gravity. In classical physics the future is just a half of the timeline, the same for all observers. In special relativity the flow of time is relative to the observer's frame of reference; the faster an observer is traveling away from a reference object, the slower that object seems to move through time. Hence, future is not an objective notion anymore. A more significant notion is the future light cone. While a person can move backwards or forwards in the three spatial dimensions, many physicists argue you are only able to move forward in time.
One of the outcomes of Special Relativity Theory is that a person can travel into the future by traveling at high speeds. While this effect is negligible under ordinary conditions, space travel at high speeds can change the flow of time considerably; as depicted in many science fiction stories and movies, a person traveling for a short time at near light speed will return to an Earth, many years in the future. Some physicists claim that by using a wormhole to connect two regions of spacetime a person could theoretically travel in time. Physicist Michio Kaku points out that to power this hypothetical time machine and "punch a hole into the fabric of space-time", it would require the energy of a star. Another theory is. In the philosophy of time, presentism is the belief that only the present exists, the future and past are unreal. Past and future "entities" are construed as logical fictions; the opposite of presentism is'eternalism', the belief that things in the past and things yet to come exist eternally.
Another view is sometimes called the'growing block' theory of time—which postulates that the past and present exist, but the future does not. Presentism is compatible with Galilean relativity, in which time is independent of space, but is incompatible with Lorentzian/Einsteinian relativity in conjunction with certain other philosophical theses that many find uncontroversial. Saint Augustine proposed that the present is a knife edge between the past and the future and could not contain any extended period of time. Contrary to Saint Augustine, some philosophers propose that conscious experience is extended in time. For instance, William James said that time is "...the short duration of which we are and incessantly sensible." Augustine proposed that God is outside of present for all times, in eternity. Other early philosophers who were presentists include the Buddhists. A leading scholar from the modern era on Buddhist philosophy is Stcherbatsky, who has written extensively on Buddhist presentism: Human behavior is known to encompass anticipation of the future.
Anticipatory behavior can be the result of a psychological outlook toward the future, for examples optimism and hope. Optimism is an outlook on life such. People would say, it is the philosophical opposite of pessimism. Optimists believe that people and events are inherently good, so that most situations work out in the end for the best. Hope is a belief in a positive outcome related to circumstances in one's life. Hope implies a certain amount of despair, wishing, suffering or perseverance — i.e. believing that a better or positive outcome is possible when there is some evidence to the contrary. "Hopefulness" is somewhat different from optimism in that hope is an emotional state, whereas optimism is a conclusion reached through a deliberate thought pattern that leads to a positive attitude. Pessimism as stated, it is the tendency to see, anticipate, or emphasize only bad or undesirable outcomes, results, or problems. The word originates in Latin from Pessimus meaning Malus meaning bad. Religions consider the future when they address issues such as karma, life after death, eschatologies that study what the end of time and the end of the world will be.
A battleship is a large armored warship with a main battery consisting of large caliber guns. During the late 19th and early 20th centuries the battleship was the most powerful type of warship, a fleet of battleships was considered vital for any nation that desired to maintain command of the sea; the term battleship came into formal use in the late 1880s to describe a type of ironclad warship, now referred to by historians as pre-dreadnought battleships. In 1906, the commissioning of HMS Dreadnought into the United Kingdom's Royal Navy heralded a revolution in battleship design. Subsequent battleship designs, influenced by HMS Dreadnought, were referred to as "dreadnoughts", though the term became obsolete as they became the only type of battleship in common use. Battleships were a symbol of naval dominance and national might, for decades the battleship was a major factor in both diplomacy and military strategy. A global arms race in battleship construction began in Europe in the 1890s and culminated at the decisive Battle of Tsushima in 1905, the outcome of which influenced the design of HMS Dreadnought.
The launch of Dreadnought in 1906 commenced a new naval arms race. Three major fleet actions between steel battleships took place: the decisive battles of the Yellow Sea and Tsushima during the Russo-Japanese War, the inconclusive Battle of Jutland during the First World War. Jutland was the largest naval battle and the only full-scale clash of battleships in the war, it was the last major battle fought by battleships in world history; the Naval Treaties of the 1920s and 1930s limited the number of battleships, though technical innovation in battleship design continued. Both the Allied and Axis powers built battleships during World War II, though the increasing importance of the aircraft carrier meant that the battleship played a less important role than had been expected; the value of the battleship has been questioned during their heyday. There were few of the decisive fleet battles that battleship proponents expected, used to justify the vast resources spent on building battlefleets. In spite of their huge firepower and protection, battleships were vulnerable to much smaller and inexpensive weapons: the torpedo and the naval mine, aircraft and the guided missile.
The growing range of naval engagements led to the aircraft carrier replacing the battleship as the leading capital ship during World War II, with the last battleship to be launched being HMS Vanguard in 1944. Four battleships were retained by the United States Navy until the end of the Cold War for fire support purposes and were last used in combat during the Gulf War in 1991; the last battleships were stricken from the U. S. Naval Vessel Register in the 2000s. A ship of the line was the dominant warship of its age, it was a large, unarmored wooden sailing ship which mounted a battery of up to 120 smoothbore guns and carronades. The ship of the line developed over centuries and, apart from growing in size, it changed little between the adoption of line of battle tactics in the early 17th century and the end of the sailing battleship's heyday in the 1830s. From 1794, the alternative term'line of battle ship' was contracted to'battle ship' or'battleship'; the sheer number of guns fired broadside meant a ship of the line could wreck any wooden enemy, holing her hull, knocking down masts, wrecking her rigging, killing her crew.
However, the effective range of the guns was as little as a few hundred yards, so the battle tactics of sailing ships depended in part on the wind. The first major change to the ship of the line concept was the introduction of steam power as an auxiliary propulsion system. Steam power was introduced to the navy in the first half of the 19th century for small craft and for frigates; the French Navy introduced steam to the line of battle with the 90-gun Napoléon in 1850—the first true steam battleship. Napoléon was armed as a conventional ship-of-the-line, but her steam engines could give her a speed of 12 knots, regardless of the wind condition; this was a decisive advantage in a naval engagement. The introduction of steam accelerated the growth in size of battleships. France and the United Kingdom were the only countries to develop fleets of wooden steam screw battleships although several other navies operated small numbers of screw battleships, including Russia, the Ottoman Empire, Naples and Austria.
The adoption of steam power was only one of a number of technological advances which revolutionized warship design in the 19th century. The ship of the line was overtaken by the ironclad: powered by steam, protected by metal armor, armed with guns firing high-explosive shells. Guns that fired explosive or incendiary shells were a major threat to wooden ships, these weapons became widespread after the introduction of 8-inch shell guns as part of the standard armament of French and American line-of-battle ships in 1841. In the Crimean War, six line-of-battle ships and two frigates of the Russian Black Sea Fleet destroyed seven Turkish frigates and three corvettes with explosive shells at the Battle of Sinop in 1853. In the war, French ironclad floating batteries used similar weapons against the defenses at the Battle of Kinburn. Wooden-hulled ships stood up comparatively well to shells, as shown in the 1866 Battle of Lissa, where the modern Austrian steam two-decker SMS Kaiser ranged across a confused battlefield, rammed an Italian ironclad and took 80 hits from Italian ironclads, many of which were shells, but including at least one 300-pound shot at point-blank range.
Despite losing her bowsprit and her foremast, bei
Kevin Conroy is an American actor and voice actor. He is best known for his voice role as the DC Comics character Batman on the 1990s Warner Bros. television show Batman: The Animated Series, as well as various other TV series and feature films in the DC animated universe. Due to the popularity of his performance as Batman, Conroy went on to voice the character for multiple films under the DC Universe Animated Original Movies banner and the acclaimed Batman: Arkham video games. Born in Westbury, New York to an Irish Catholic family, Conroy moved to Westport, Connecticut when he was about 11 years old, he moved to New York City in 1973 when he earned a full scholarship to attend Juilliard's drama division, studying under actor John Houseman. While there, he roomed with Robin Williams, in the same group as both Conroy and Kelsey Grammer. After graduating from Juilliard in 1978, he toured with Houseman's acting group The Acting Company, the following year he went on the national tour of Ira Levin's Deathtrap.
Filmreference.com lists Conroy as having been married, having a child, though an interview with The New York Times in 2016 stated that he is single. He said that he is gay. In 1980, Conroy moved out to California, he landed a role in the daytime soap opera Another World. He became associated with the Old Globe Theatre in San Diego, where he performed in productions of Hamlet and A Midsummer Night's Dream. From 1980 to 1985, he acted in a variety of contemporary and classic theatre pieces, including the Broadway productions of Eastern Standard and Edward Albee's adaptation of Lolita. In 1984, he played the title role in Hamlet at the New York Shakespeare Festival, he returned to television in the 1985 TV movie Covenant and had a role on another daytime soap drama, Search for Tomorrow. He was a series regular on Ohara in 1987, as the company commander on Tour of Duty from 1987 to 1988, before starring in a series of television movies. Though cast as one of the show's main characters, his role on the show was reduced while it filmed in Hawaii and he ended up spending much of his time doing portraits of tourists on the Honolulu boardwalk.
He has guest starred on shows such as Cheers, Search for Tomorrow and Murphy Brown. As a voice actor, Kevin Conroy is best known for his starring role as Bruce Wayne / Batman in the acclaimed Batman: The Animated Series, he continued to voice Batman in numerous animated projects from which the series was spun off into, which collectively took place in what is known as the DC animated universe. These spin-offs include the TV shows The New Batman Adventures, Batman Beyond, Justice League and Justice League Unlimited as well as the theatrical film Batman: Mask of the Phantasm, the direct-to-video films Batman & Mr. Freeze: SubZero, Batman Beyond: Return of the Joker and Batman: Mystery of the Batwoman, he voiced Batman for the character's guest appearances in the DCAU's Superman: The Animated Series, Static Shock and The Zeta Project. Conroy is distinguished for being the first voice actor to use two distinct voices to portray Bruce Wayne and Batman, which Michael Keaton had done in Tim Burton's live-action Batman films.
In a tally of performances that include every episode and movie portrayal of Batman in live-action and animation, Conroy has portrayed the character longer than any other actor. The previous record-holder was Olan Soule, who voiced Batman in various animated works between the late 1960s and early 1980s. Apart from the DCAU, Conroy has portrayed Batman in the direct-to-video DC Universe Animated Original Movies: Batman: Gotham Knight, Superman/Batman: Public Enemies, Superman/Batman: Apocalypse, Justice League: Doom, Justice League: The Flashpoint Paradox, Batman: Assault on Arkham and Batman: The Killing Joke. After the September 11, 2001 attacks in New York City, Conroy participated in relief efforts by volunteering to cook for police officers and firefighters. During an audio commentary on Batman: Gotham Knight, Conroy expressed his surprise at the reaction of the emergency service workers to his presence. At the behest of another cook, Conroy called out from the kitchen to the dining area in his "Batman voice", reciting the iconic line, "I am vengeance!
I am the night! I am Batman!" This was greeted by cheers and applause from emergency service personnel, many of whom had been fans of Batman: The Animated Series during its airing in the 1990s. Conroy confessed to being humbled and flattered by the reaction. In preparation for the theatrical release of the 2012 live-action film The Dark Knight Rises, Conroy re-dubbed Christian Bale's Batman lines for an animated version of one of the film's trailers. Conroy stated at the 2013 Dallas Comic Con that he had been working on "the next Arkham", leading to rampant speculation that he would reprise his role as Batman in Batman: Arkham Origins. In June 2013, however, it was confirmed that Conroy would not be involved in Arkham Origins, meaning Conroy may have been referring to an yet-unannounced game from the Rocksteady Arkham series. In March 4, 2014, a new Arkham game titled Batman: Arkham Knight was announced with Conroy reprising his role, he confirmed on Twitter in October 2013 that he had filmed a role on Tim Daly's web series The Daly Show, where Conroy parodied his role as Batman in a fight with Daly parodying Superman.
Kevin Conroy on IMDb Franklin, Will C. "Kevin Conroy