DOCSLIB.ORG

The Last Guardian Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Last Guardian Free FREE THE LAST GUARDIAN PDF Eoin Colfer | 328 pages | 10 Jul 2012 | Hyperion | 9781423161615 | English | New York, United States The Last Guardian for PlayStation 4 Reviews - Metacritic Generally favorable reviews - based on Critic Reviews What's this? Generally favorable reviews - The Last Guardian on Ratings. See all Critic Reviews. See all User Reviews. The Last Guardian PlayStation 4. User Score. Your Score. Rate this:. Log in to finish rating The Last Guardian. The Last Guardian. Share this? Play Sound. Please enter your birth date to watch this video:. January The Last Guardian March April May June July August September October November December The Last Guardian 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Enter. Critic Reviews. Score distribution:. Positive: 82 out of Mixed: 27 out of Negative: 1 out of All this publication's reviews Read full review. The Last Guardian is not perfect, but those issues are nothing The Last Guardian to its wonderful gameplay and its beautiful setting. This game and its soundtrack will live forever in the gaming world. Digital Chumps. The Last Guardian an appalling technical aspect with camera troubles and a wacky handling, The Last Guardian is a very good story-based puzzle game that makes you feel immersed in the relationship between the boy and Trico. The Sydney Morning Herald. Whether or not you feel the mechanical issues will be enough to ruin this sweet, The Last Guardian realised, emotive game is up The Last Guardian you. For me, they're annoying but ephemeral. There The Last Guardian a hundred games released this year that are more fluid and fun to play minute-to-minute, and dozens that perform with a silky smooth frame rate, yet I'll remember this adventure with Trico long after I've forgotten those. Clunky controls and a handful of graphical issues, however, mean that The Last Guardian may not be an enjoyable game for everyone—though, either way, Trico is adorable. Outdated and flat gameplay mechanics, poor controls, technical issues. As you will love Trico for sure, the game itself you will certainly not. All this publication's reviews. User Reviews. Write a Review. Positive: out of Mixed: 85 out of Negative: 78 out of Best PS4 game. A true succesor to Ico and Shadow of the Collossus. Trico looks like a mixture of dog and bird, but behaves exactly like my Best PS4 game. Trico looks like a mixture of dog and bird, but behaves exactly like my cat. That means it won't listen often. Those times it can be a little frustrating, but it also adds to the believability of the creature and you can find other ways to show him what you want. I love the atmosphere clearly set in the same world as ico and sotcbut most of all the story. Real, emotional, loving. I haven't cared for game characters as much as this ever before. Some call the graphics outdated. I'm glad they are the way they are. Ico nostalgia. The animations and lighting can be spectacular. The camera is very bad at times, but it doesn't distract from the great game and story. The most amazing game ever. I fall in love in main characters. The game is so beautiful and amazing with a fascinating story. I am very happy The most amazing game ever. It was a completely absorbing game that I just did not wish to stop playing. Even when I took The Last Guardian occasional break, my thoughts seemed to It was a completely absorbing game that I just did not wish to stop playing. Even when I took the occasional break, my thoughts seemed to always drift back to this fantasy world. A beautiful and touching story with excellent animation and music, as long as you can put up with the annoying movement controls and camera. Not fulfilled my expectations. I can't understand how it took 10 years to do it. The camera controls are very The Last Guardian Shadow of the colosus It's Not fulfilled my expectations. The camera controls are very bad Shadow of the colosus It's much better game. On the other side, Ttrico is adorable … Expand. Play Video. The Last Guardian Official Trailer. The Last Guardian - E3 Trailer. Related Articles. Published: September 12, We profile the most noteworthy videogames scheduled The Last Guardian release between now and the end of the year. Published: January 14, Our preview of the year in gaming concludes with a look at the top titles expected in that will be exclusive to thePS3, Wii, PC, or handheld platforms. Essential Links. By Metascore By user score. Pistol Whip. Spelunky 2. F1 Crash Bandicoot 4: It's About Time. Dungeon of the Endless. Ghost of Tsushima. Fury Unleashed. Wasteland 3. Manifold Garden. Beyond Blue. The Inner Friend. Marvel's Avengers. Necromunda: Underhive Wars. Daymare: Those Who Remain. The Last Guardian creator: 'I can't face playing my own game' | Games | The Guardian But then, of course, the first two — Ico The Last Guardian Shadow of Colossus — are legendary. Like its predecessors, The Last Guardian is the story of young boy — this time, one whose actions are narrated by an The Last Guardian man looking back on his former journey. Within moments familiarity is challenged via Trico, a bruised and chained alien creature with whom you share a forgotten, tumbledown cell. Trico is a composite animal: he has the claws and feathers of a bird, the ears of a cat and the The Last Guardian of a rodent. But his temperament, as anyone who has ever owned and loved a dog will immediately recognise, is pure canine. Empathy is established within moments. With horns shorn and spears punctuating his back, the Trico you first meet is weak and panicked. Before you can ask who? The boy has no weapon to fend off the pursuing ghoulish, clinking suits of armour. Trust builds through adversity. At first, the boy and Trico tentatively The Last Guardian one another. By the end of the journey, the bond is such that Trico will playfully pick you up in his mouth and flick you overhead to land, cartwheeling, on his back. After a battle, you are the only one able to soothe Trico by clambering on to his back and petting him. At other points Trico can be used as a slope leading up to a high ledge. Video game environments always reflect, in some way, the abilities of the avatars designed to move through them. It upsets our deeply learned patterns of spatial reasoning in video games. They give the puzzles a uniquely organic feel. Here, a designer may have authored the solutions, but they are arrived at via a lunge and a frantic scramble to gain a foothold. While the texture is organic, beneath the loveable frame, Trico is inescapably an artificial intelligence, one to whom you can only make suggestions rather than explicit directions. There are few frustrations in the medium as raw as those experienced when you know exactly what you are supposed to be doing to progress through the scene, only to be stymied by a stubborn or confused AI. The Last Guardian has these moments particularly in its latter, water-based stages but they are rare, especially for the patient player who, The Last Guardian than screaming at the beast to The Last Guardian hither and thither, The Last Guardian clear, sporadic instructions. The pleasure when boy and beast work as one is as tactile and satisfying as the click and yield of a key in a door. That Trico is an abuse survivor is made explicit. The creature wears his wounds unashamedly: black streak lines stain his nose beneath the eyes, while crimson stains appear on his feathers with every newly sunk and plucked spear. He recoils from stained glass ornaments to which terrible memories are The Last Guardian attached. This theme alone would be enough to mark The Last Guardian out as almost unique in games. The The Last Guardian Guardian review — a joyous meditation on companionship. Photograph: Sony. Simon Parkin. Mon 5 Dec The Last Guardian review – a joyous meditation on companionship | Games | The Guardian There are very few games that become legendary for a single moment, a single unforgettable image, but Ico is certainly one The Last Guardian them. For many players, when the eponymous protagonist takes the hand of the captive girl Yorda and leads her from her The Last Guardian, it is a profoundly emotional experience. Most had never played anything that required The Last Guardian character to connect with another in such a tactile and protective way, and the idea that hand-holding could be a central mechanic was as revolutionary as it was quietly beautiful. Now, the designer behind that moment Fumito Ueda, is nervously awaiting the release of his third game for Sony, the long-delayed Last Guardian. Little is known about this tale of a boy escaping from a ruined city with the help of a giant creature, but with its hazy, almost dreamlike lighting, vast plaintive landscapes and emphasis on a central relationship, it is The Last Guardian much in the style of Ico and its follow-up, Shadow of the Colossus. It is unmistakably an Ueda game. But who is Ueda? This something developer, who joined the games industry two years after graduating from Osaka university of arts ingives few interviews. We know that, as a teenager, he was a huge fan of the Amiga computer and loved the acclaimed cinematic platformers Flashback and Another World it is perhaps from French developer Delphine that he learned the art of oblique, highly mannered storytelling.
Load more

Recommended publications
  • World of Warcraft Online Manual
    Game Experience May Change During Online Play WOWz 9/11/04 4:02 PM Page 2 Copyright ©2004 by Blizzard Entertainment. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use the product. Use of World of Warcraft, is subject to your acceptance of the World of Warcraft® Terms of Use Agreement. World of Warcraft, Warcraft and Blizzard Entertainment are trademarks or registered trademarks of Blizzard Entertainment in the U.S. and/or other countries.Windows and DirectX are trademarks or registered trademarks of Microsoft Corporation in the U.S. and/or other countries. Pentium is a registered trademark of Intel Corporation. Power Macintosh is a registered trademark of Apple Computer, Inc. Dolby and the double-D symbol are trademarks of Dolby Laboratory. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark ® Office and certain other jurisdictions. Arial is a trademark of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. ITC Friz Quadrata is a trademark of The International Typeface Corporation which may be registered in certain jurisdictions. All other trademarks are the property of their respective owners. Uses high-quality DivX® Video. DivX® and the DivX® Video logo are trademarks of DivXNetworks, Inc. and are used under license. All rights reserved. AMD, the AMD logo, and combinations thereof are trademarks of Advanced Micro Devices, Inc All ATI product and product feature names and logos, including ATI, the ATI Logo, and RADEON are trademarks and / or registered trademarks of ATI Technologies Inc.
    [Show full text]
  • Fumito Ueda Och Samtalet Mellan Maskin Och Människa
    INSTITUTIONEN FÖR KULTURVETENSKAPER Fumito Ueda och samtalet mellan maskin och människa Filip Ekström Kandidatuppsats: 15 hp Program: Kultur, kandidatprogrammet (KP1125) Nivå: Kandidat Termin/år: VT18 Handledare: Ola Stockfelt Examinator: Viveka Kjellmer ABSTRACT University of Gothenburg Department of Cultural Sciences Gothenburg, Sweden Bachelor of Arts – Program in Cultural Sciences, 15.0 higher education credits Graduating Thesis, spring 2018 Author: Filip Ekström Mentor: Ola Stockfelt Examinator: Title: Fumito Ueda – And the Conversation Between Human and Machine This thesis approaches videogame-designer Fumito Uedas three major works, ICO, Shadow of the Colossus and The Last Guardian, through the theories of cybernetics. Mostly those of the philosopher and mathematician Norbert Wiener. With the focus on the relation and communication between the player/human and the videogame/machine/computer. How the a.i-characters through Uedas games develop more and more liberties of being their own individuals, free from the player-characters full control, and how this effects the gameplay and players relation to the machine and his/hers interaction with them. It shows that through the evolution of Uedas a.i-characters, players learn to adapt more to the demands of a computer, and the digitally generated world. And using the communication made available by videogames, is able to adjust to these artificial creatures requirements, just as if they were real beings. Keywords: Cybernetics, videogames, intergration, machine/human interaction 1 INNEHÅLLSFÖRTECKNING
    [Show full text]
  • Signature Redacted
    Intimate Worlds: Reading for Intimate Affects in Contemporary Video Games by Kaelan Doyle-Myerscough B.A. Hons. East Asian Studies McGill University, 2016 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2018 Kaelan Doyle-Myerscough. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature redacted Signature of Author: Department of Comparative Media Studies May 10, 2018 Signature redacted Certified by: Eugenie Brinkema Professor, Comparative Media Studies Thesis Supervisor Signature redacted A ccepted by: I%. A p b: Heather Hendershot Director of Graduate Studies, Comparative Media Studies MASSACHUSETTS INSTITUTE OF TECHNOLOGY MAY 3 0 2018 LIBRARIES ARCHIVES Intimate Worlds: Reading for Intimate Affects in Contemporary Video Games by Kaelan Doyle-Myerscough Submitted to the Department of Comparative Media Studies on May 10, 2018 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies ABSTRACT When we think of pleasures to be found in video games, we often talk about power, control, agency, and fun. But to center these pleasures is to privilege certain stories, players, actions and possibility spaces. This thesis uses the framework of intimacy to closely examine three games for their capacity to create pleasure in vulnerability, the loss of control, dependence on others, and precarity. Drawing from Deleuzian affect theory and feminist, queer and posthuman theorists, I read for intimate affects in the formal, aesthetic, proprioceptive and structural elements of Overwatch, The Last Guardianand The Legend of Zelda: Breath of the Wild.
    [Show full text]
  • Games for Self-Reflection
    Kandidatarbete i medieteknik, Institutionen för teknik och estetik, vårtermin 2017 Social Insecurity & Games: Games for self-reflection Douglas Gidlöf | Sebastian Hansson Aneer Pirjo Elovaara Peter Giger Abstract This is a study of how games can be used to encourage self-reflection. The study uses Everyday-Social Anxiety to establish a base point from which to make a game. During the study a game was developed using the research found. The game uses mechanics in order to link the player to the games protagonist. This link is then used in an attempt to encourage the player to self-reflect. Known design methods are used as guidelines of how the study and game is made. These methods originate from both game design and design of informative systems (such as servers). Some psychology sources are used in order to gather an understanding of what Social Anxiety is and how it affects people, the focus however, lies on the subject of Media technology and game development. The study concludes with results and a discussion. In the discussion the entirety of the study is motivate and reflected over by the authors. The results are specifically presented in a conclusion, presenting what was done, and what the study led to. Keywords: Social Anxiety, Design, Game, Mechanics, Link. Abstrakt Detta är en studie på hur spel kan användas för att uppmuntra själv-reflektion. Studien använder vardags-social ångest för att etablera en utgångspunkt utifrån vilken ett spel skapas. Under studien utvecklades ett spel utifrån utforskningen som hittats. Spelet använder mekanier för att skapa en länk mellan spelaren och spelets protagonist.
    [Show full text]
  • Skazka: Empathy Through Cooperation and Discovery
    Skazka: Empathy through Cooperation and Discovery Elevator Pitch Skazka is a two-player cooperative and exploration-based game about a girl, Katya, and a wolf, Volk, who navigate the Siberian landscape to find the girl's brother. Over the course of their journey, they must work together to overcome the beautiful but treacherous terrain and survive encounters with the animal-like lords of the land. The game draws from the mythology and folktales of the Siberian peoples including the Russians, the Buryat, and the Tyuvan clans. The primary goals of Skazka's design are to explore mechanics and narrative that: 1. Encourage cooperative problem-solving skills in players 2. Reward group discovery 3. Foster empathy between players The game is intended to be a compelling and emotive game, and it draws on design and scope aspects from games in related genres such as Journey, The Last Guardian, Trine, and Never Alone. Skazka educates by encouraging prosocial behaviors between players and depicting the unique biomes and cultures of the remote Siberian region. To reach a wider audience, Akula Games, LLC presents this experience using familiar and well-loved play mechanics that both young people and adults can enjoy. Few games explore cooperative mechanics and empathy-building in a commercial setting, but Skazka reaches both “core" and “mid-core" game players by connecting the fundamentally social nature of games with cooperation-based challenges. Core game players are defined as people who play games more than five hours a day, while the mid-core audience plays less but often desires the complexity of play associated with core gaming.
    [Show full text]
  • Mukokuseki and the Narrative Mechanics in Japanese Games
    Mukokuseki and the Narrative Mechanics in Japanese Games Hiloko Kato and René Bauer “In fact the whole of Japan is a pure invention. There is no such country, there are no such peo- ple.”1 “I do realize there’s a cultural difference be- tween what Japanese people think and what the rest of the world thinks.”2 “I just want the same damn game Japan gets to play, translated into English!”3 Space Invaders, Frogger, Pac-Man, Super Mario Bros., Final Fantasy, Street Fighter, Sonic The Hedgehog, Pokémon, Harvest Moon, Resident Evil, Silent Hill, Metal Gear Solid, Zelda, Katamari, Okami, Hatoful Boyfriend, Dark Souls, The Last Guardian, Sekiro. As this very small collection shows, Japanese arcade and video games cover the whole range of possible design and gameplay styles and define a unique way of narrating stories. Many titles are very successful and renowned, but even though they are an integral part of Western gaming culture, they still retain a certain otherness. This article explores the uniqueness of video games made in Japan in terms of their narrative mechanics. For this purpose, we will draw on a strategy which defines Japanese culture: mukokuseki (borderless, without a nation) is a concept that can be interpreted either as Japanese commod- ities erasing all cultural characteristics (“Mario does not invoke the image of Ja- 1 Wilde (2007 [1891]: 493). 2 Takahashi Tetsuya (Monolith Soft CEO) in Schreier (2017). 3 Funtime Happysnacks in Brian (@NE_Brian) (2017), our emphasis. 114 | Hiloko Kato and René Bauer pan” [Iwabuchi 2002: 94])4, or as a special way of mixing together elements of cultural origins, creating something that is new, but also hybrid and even ambig- uous.
    [Show full text]
  • PSX Extreme 7/2016
    A 227 TEMAT NUMERU – RAPORT E3 2016 Intro i konferencje 26 PlayStation VR 50 Nowe konsole 51 Battlefield 1 35 Call of Duty: Infinite Warfare 45 Days Gone 38 Dead Rising 4 44 Detroit: Become Human 43 Dishonored II 30 FIFA 17 34 Final Fantasy XII: The Zodiac Age 42 Final Fantasy XV 42 For Honor 41 Forza Horizon 3 46 Gears of War 4 44 God of War 36 Gran Turismo Sport 46 Horizon: Zero Dawn 39 Injustice 2 49 Mafia III 32 Pro Evolution Soccer 2017 45 Resident Evil VII: Biohazard 38 Sea of Thieves 48 South Park: The Fractured but Whole 40 Steep 48 Tekken 7 49 The Last Guardian 37 The Legend of Zelda: Breath of the Wild 47 Titanfall 2 34 Tom Clancy’s Ghost Recon Wildlands 40 26 Watch_Dogs 2 41 TEMAT NUMERU RAPORT E3 Automaty wiecznie żywe 18 Temat Numeru4567899cc CO NOWEGO 9:;9/! Elex 14 Persona 5 12 Q999 Star Trek Online 13 Q< PLAYTEST Halo Wars 2 16 RECENZJE Dead Island: Definitive Edition 61 Downwell 64 74 Fallout 4 – Far Harbor 63 .A Guilty Gear Xrd -REVELATOR- 62 Hitman: Episode 3 – Marrakesh 68 Hardkor / Zgrentgen Qc Homefront: The Revolution 67 c9QQ Mario & Sonic at the Rio 2016 Olympic Games 64 P Mirror’s Edge Catalyst 58 One Piece: Burning Blood 66 cc Overwatch 54 PPc Shadow of the Beast 65 Sherlock Holmes: The Devil’s Daughter 69 cc Teddy Together 64 P9P Teenage Mutant Ninja Turtles: Mutants in Manhattan 68 Q The Technomancer 62 Trials of the Blood Dragon 66 PORADNIK Dark Souls III cz.
    [Show full text]
  • The Last Guardian Narrating Through Mechanics and Empathy
    The Last Guardian Narrating through Mechanics and Empathy Beat Suter In my dream I was flying. Flying through the darkness … I awoke to find myself in a strange cave. I noticed with a start that I was not alone. Beside me lay a great man-eating beast. (The Last Guardian 2016) Thus an older man begins with a deep voice from offstage and tells in retrospect his story, which he experienced as a boy. The poetic beginning is quickly re- placed by the presence of the boy and the beast that have to get familiar with each other and find their way in a foreign environment. Together they learn the mechanics of interaction and progress. The narrative mechanics of the game The Last Guardian couldn’t be easier at first. A boy and an animal find themselves in a chasm, which looks like a dun- geon. The large beast is chained and injured. The boy wakes up from uncon- sciousness and does not know where he is. It quickly becomes clear that the boy and the animal are in mutual dependence to each other. One cannot move for- ward without the other. EMPATHY AND SMALL NARRATIVE INTERPERSONAL INTERACTIONS It takes time for them to get to know each other and develop mutual support and cooperation. It is a slow approach. The boy tries to win the trust of the animal, 310 | Beat Suter which is much more powerful than him. This is the only way he can free the ani- mal from the chain and pull the spears from its wounds.
    [Show full text]
  • Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike
    Vanderbilt Journal of Entertainment & Technology Law Volume 15 Issue 2 Issue 2 - Winter 2013 Article 1 2013 Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike Margit Livingston Joseph Urbinato Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Margit Livingston and Joseph Urbinato, Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike, 15 Vanderbilt Journal of Entertainment and Technology Law 227 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol15/iss2/1 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. VANDERBILT JOURNAL OF ENTERTAINMENT AND TECHNOLOGY LAW VOLUME 15 WINTER 2013 NUMBER 2 Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike Margit Livingston* and Joseph Urbinato** ABSTRACT The standard for copyright infringement is the same across different forms of expression. But musical expression poses special challenges for courts deciding infringement disputes because of its unique attributes. Tonality in Western music offers finite compositional choices that will be pleasing or satisfying to the ear. The vast storehouse of existing public domain music means that many of those choices have been exhausted. Although independent creation negates plagiarism, the inevitable similarity among musical pieces within the same genre leaves courts in a quandary as to whether defendant composers infringed earlier copyrighted works or simply found their own way to a similar melody, harmony, rhythm, or formal structure.
    [Show full text]
  • Sony Computer Entertainment Unveils Relentless Lineup of Exclusive Software During E3 Media & Business Summit 2009
    FOR IMMEDIATE RELEASE Contacts: Jennifer Clark – 650-655-5994 [email protected] Brian Keltner – 650-655-5944 [email protected] SONY COMPUTER ENTERTAINMENT UNVEILS RELENTLESS LINEUP OF EXCLUSIVE SOFTWARE DURING E3 MEDIA & BUSINESS SUMMIT 2009 First Party Development Studios and Publishing Partners Exhibit Dedication to High Production Values and Innovation across All PlayStation® Platforms ___________________________________________________________________________ Los Angeles, Calif., June 2, 2009 – Sony Computer Entertainment America Inc. (SCEA) today revealed an unrivaled line up of software for PLAYSTATION®3 (PS3™), PSP® (PlayStation®Portable), and PlayStation®Network during a press event to kick off the annual E3 Media & Business Summit 2009. In addition to revealing new content for over 25 highly anticipated first-party software titles that are only available on PlayStation® platforms, attendees caught a glimpse at never before seen the PS3 system titles ModNation™Racers and Gran Turismo 5; and Gran Turismo® for PSP for the portable gamer. An extensive demonstration of UNCHARTED 2: Among Thieves™ single player mode opened the show with an illustration of the high quality production values used for the game and demonstrated the power of the PS3 system. For the first time, the audience experienced an on-stage battle of 256 players in MAG, a feat never before accomplished on the home console. The hugely popular Greek mythology based title, God of War®III, closed the show with the most in-depth look at the title to date. “PlayStation’s software lineup this year is unparalleled with proven franchises like Gran Turismo 5, Ratchet & Clank Future: A Crack in Time, UNCHARTED 2: Among Thieves, and God of War III, as well as highly anticipated games like MAG and ModNation™Racers,” said Peter Dille, Senior Vice President of Marketing and PlayStation Network, SCEA.
    [Show full text]
  • A Graphic Novel
    JOKERS AND THIEVES: A GRAPHIC NOVEL An Undergraduate Research Scholars Thesis by KYLE RIVELY Submitted to the LAUNCH: Undergraduate Research office at Texas A&M University in partial fulfillment of requirements for the designation as an UNDERGRADUATE RESEARCH SCHOLAR Approved by Faculty Research Advisor: Professor Samuel Woodfin May 2021 Major: Visualization Copyright © 2021. Kyle Rively. RESEARCH COMPLIANCE CERTIFICATION Research activities involving the use of human subjects, vertebrate animals, and/or biohazards must be reviewed and approved by the appropriate Texas A&M University regulatory research committee (i.e., IRB, IACUC, IBC) before the activity can commence. This requirement applies to activities conducted at Texas A&M and to activities conducted at non-Texas A&M facilities or institutions. In both cases, students are responsible for working with the relevant Texas A&M research compliance program to ensure and document that all Texas A&M compliance obligations are met before the study begins. I, Kyle Rively, certify that all research compliance requirements related to this Undergraduate Research Scholars thesis have been addressed with my Research Faculty Advisor prior to the collection of any data used in this final thesis submission. This project did not require approval from the Texas A&M University Research Compliance & Biosafety office. TABLE OF CONTENTS Page ABSTRACT .................................................................................................................................... 1 ACKNOWLEDGEMENTS
    [Show full text]
  • POP Culture at a GLANCE Pop Culture Is One of the Biggest Influences on a Teen’S Life
    Volume Issue July—Sept POP culture AT A GLANCE Pop culture is one of the biggest influences on a teen’s life. How much do YOU know about it? Swift Playground is Apple’s newest Harry Potter fever never seems to Ipad app, but this go away. Scholastic will be repub- one will allow lishing Fantastic Beasts and children to learn Where to Find Them, with new how to code MAC Cosmetics is launching a Star Trek notes and doodles from author (make their own inspired makeup line. “Star Trek is an iconic J.K. Rowling to coincide with the apps). It uses pop culture phenomena whose storylines new movie (1 of 3) release. Mean- games and fun pushed gender and racial boundaries,” said while, the play “The Cursed Child” animation to help MAC Senior Vice President James Gager. will begin its run this summer, kids want to learn the new computer lan- “For its 50th anniversary, we celebrate each casting is being announced now. guage. The game Minecraft has also been of Star Trek’s powerful women in a transcend- The screenplay was also recently praised has helping kids to learn coding, but ing, transformational makeup collection.” published in book form and this is the first app designed with that as the dubbed as the 8th Harry Potter focus for younger children. book. Teen social media app Wishbone has added video to its capabilities and made In an effort to be more inclusive of a deal with Disney’s Freeform TV net- the young female comic fans and work, which airs shows like Pretty Little encourage more to join that group, Liars.
    [Show full text]