Cyclops (Marvel Comics)
Cyclops is a fictional superhero appearing in American comic books published by Marvel Comics and is a founding member of the X-Men. Created by writer Stan Lee and artist Jack Kirby, the character first appeared in the comic book The X-Men. Cyclops is a member of a subspecies of humans known as mutants, who are born with superhuman abilities. Cyclops can emit powerful beams of energy from his eyes, he can not control the beams without the aid of special eyewear. He is considered the first of the X-Men, a team of mutant heroes who fight for peace and equality between mutants and humans, one of the team's primary leaders. Cyclops is most portrayed as the archetypal hero of traditional American popular culture—the opposite of the tough, anti-authority antiheroes that emerged in American popular culture after the Vietnam War. One of Marvel's most prominent characters, Cyclops was rated #1 on IGN.com's list of Top 25 X-Men from the past forty years in 2006, the 39th in their 2011 list of Top 100 Comic Book Heroes.
In 2008, Wizard Magazine ranked Cyclops the 106th in their list of the 200 Greatest Comic Book Characters of All Time. In a 2011 poll, readers of Comic Book Resources voted Cyclops as 9th in the ranking of 2011 Top Marvel Characters. James Marsden has portrayed Cyclops in the first three and the seventh X-Men films, while in the 2009 prequel film, X-Men Origins: Wolverine, he is portrayed as a teenager by actor Tim Pocock. In 2016's X-Men: Apocalypse, a younger version of him is portrayed by Tye Sheridan. Sheridan will reprise his role in Dark Phoenix. Sheridan's Cyclops made a cameo in Deadpool 2. Cyclops first appeared in The X-Men #1, he was created by Stan Lee and Jack Kirby, has been a mainstay character of the X-Men series. Lee said that Cyclops and Beast were his two favorite X-Men, elaborating that "I love tortured heroes—and he was tortured because he couldn't control his power." Dubbed "Slim Summers", by The X-Men #3 his name was changed to "Scott", with "Slim" becoming a nickname. Scott Summers is the first of the X-Men recruited by Professor X.
Xavier views Scott as one of his most prized pupils. From time to time, Scott's extreme loyalty to Xavier has cost him dearly in his relationships with others. Dave Cockrum created the Starjammers, including Corsair, convinced X-Men writer Chris Claremont to use the characters for this series. In order to provide a plausible excuse for the Starjammers to make repeat appearances in X-Men, they decided to make Corsair the father of Cyclops. Summers remained a member of the team up through Uncanny X-Men #138. After departing the main cast, he was a recurring character in the series until Uncanny X-Men #201, after which he was featured in the launch of a new series by Marvel; this new series, X-Factor, launched in 1986 and starred the original X-Men team of Cyclops, Marvel Girl, Beast and Angel. Scott stayed with the X-Factor title through X-Factor #70. In October 1991, Summers returns to the X-Men to launch X-Men #1; this series was the second of two X-Men titles and featured Cyclops, Gambit, Psylocke and Beast as Blue team.
Cyclops has been featured in another title launch with the second introduction of a new X-Men series Astonishing X-Men. Astonishing X-Men features Cyclops, Shadowcat, Emma Frost, Beast as a team. Throughout this time, Cyclops continued to make appearances in Uncanny X-Men Marvel has used Cyclops to launch variant series of X-Men titles most notably Ultimate X-Men and New X-Men. Cyclops has appeared in limited series including Adventures of Cyclops & Phoenix, Further Adventures of Cyclops & Phoenix, X-Men: The Asgardian Wars, the second series of Astonishing X-Men, X-Men: The Search for Cyclops, his own self-titled series Cyclops, X-Men Origins: Cyclops #1. In 1991, writer Brian K. Vaughan worked on the self-titled series Cyclops #1–4. In 2000, Joseph Harris wrote the four-issue run titled X-Men: The Search for Cyclops that dealt with Cyclops's return after merging with Apocalypse in the events of the Twelve from Uncanny X-Men #377. During Joss Whedon's run of Astonishing X-Men, Cyclops adopts a new attitude unfamiliar to most accustomed fans.
After Emma Frost's psychic intervention at the mansion, he temporarily loses his powers after owning up to his self-inflicted, traumatic past. This prompted an interview with Whedon in Wizard magazine #182; when asked if Cyclops didn't have his powers any more, Whedon replied: No, he doesn't have his powers. Well, he had a choice to either be out of control or bury them, he can't use them. That's pretty much it, but the thing that would be fun is that, with no powers, he's going to be the best that he's been. That's. Been the team leader and the team washout in terms of popularity, he was defined by Jean so much, I just think that this guy is so interesting in his struggle against mediocrity. When it's all laid on the line, when you find out the thing that's been holding him back from being just a complete bad ass has been himself all his life, that he's been lying to everyone, including himself, about who he is-that should be freeing; the Scott we're going to see is going to be a little bit different.
This guy is either out of control or in control of something we're not used to. I wanted him to be an unabashed tough guy, he is shooting people and turning much into a lead
Apocalypse is a fictional supervillain appearing in comic books published by Marvel Comics. He is one of the world's first mutants, was a principal villain for the original X-Factor team and now for the X-Men and related spinoff teams. Created by writer Louise Simonson and artist Jackson Guice, Apocalypse first appeared in X-Factor #5. Since his introduction, the character has appeared in a number of X-Men titles, including spin-offs and several limited series. Apocalypse has been featured in various forms of media. In 2016, Oscar Isaac portrayed the villain in the film X-Men: Apocalypse. In 2009, Apocalypse was ranked as IGN's 24th Greatest Comic Book Villain of All Time. While writing the first five issues of X-Factor, Bob Layton dropped hints of a villain operating behind the scenes and leading the Alliance of Evil. Layton intended to reveal this character to be the Daredevil villain the Owl on the final page of X-Factor #5. However, Layton was replaced by writer Louise Simonson. Editor Bob Harras said that the character arose because of storytelling needs: "All I had communicated to Louise was my desire that an A-level, first class character be introduced.
I wanted a Magneto-level villain who would up the stakes and give the X-Factor team reason to exist."In a 2011 interview with The Philadelphia Inquirer, explained that when the X-Factor series was created, the original five X-Men were pulled out of the purview of Chris Claremont, writing The Uncanny X-Men. However, Simonson felt that the series need an archenemy, or what Simonson called "a big, bad villain", conceived of Apocalypse. Simonson described the character thus: "When X-Factor was created, it caused a split in the "Mutant World" several seminal characters were pulled out of Chris Claremont's X-Men." "Apocalypse is the first mutant – a brilliant shape-shifter, immortal – and sees himself as the father of mutantkind…In his early years, which I covered in the X-Factor Forever miniseries... Apocalypse encountered the Celestials and realized there was a time when humanity might be judged unworthy and destroyed. He's been using Darwinian principles - survival of the fittest - to kill off the weak and force the survivors to grow stronger, to push humanity to get better and more powerful.
He considers himself the Apocalypse of modern man and the father of what humanity will come next - Mutantkind. Where Magneto sees mutants as the next step of evolution and strives to protect all mutants, Apocalypse believes in absolute survival of the fittest - so if the Hulk, for example, is stronger than Colossus...well, in Apocalypse's world he would say,'Bye, comrade.'" Harras commented, "As soon as I saw the sketch by Walter and heard Louise's take on him, I knew we had the character I wanted. Jackson redrew the page, but the genesis was Walt and Weezie's." Guice admitted to difficulty recalling the details behind redrawing the last page of issue #5: "The best I can remember now is putting his look together pretty much right on the pencil page—just adding bits of costuming business which hinted toward his true appearance when we'd see him in full reveal. I don't believe there was a character sketch done for him at that point—I planned on making sense of it all on, but by I was gone and others had that concern."
Apocalypse's silhouette in issue #5 does not match up with his full appearance in issue #6, suggesting the possibility that Guice was using Simonson's sketch as a reference for issue #6 but did not have access to it earlier, necessitating that he come up with his own design for issue #5. Walter Simonson himself has downplayed his role in the character's creation, saying that Guice was responsible for creating the design and that he, Simonson modified it later: "I did not co-create Apocalypse. However, I wish. Louise Simonson and Jackson Guice created him, he appeared in a few panels at the end of one of Jackson’s last X-FACTORs, so I am the first artist to use him extensively in stories. And I kind of juiced up his physique a bit."Bob Harras said on the character of Apocalypse: He looked fantastic. The name is dynamic, it tells. And he came with a clear-cut agenda:'survival of the fittest.' He didn't care if you were a mutant—if you were weak, you would be destroyed. He was merciless, but his philosophy was easy to grasp and it fit in with the harder edge of evolution, part and parcel of the mutant story.
Isn't that what humans fear about mutants? That they are the next step? Now, we had given mutants something new to fear: a character who would judge them on their genetic worthiness. To his own mind he wasn't evil, he was ensuring evolution. To me, he was the perfect next step in the mutant story. Although the character first appeared in 1986, he was retroactively said to have been present during published stories; the unnamed benefactor of the Living Monolith in Marvel Graphic Novel #17 was identified as Apocalypse in disguise. Classic X-Men #25 revealed that years earlier, Apocalypse encountered the terrorist Moses Magnum and granted him superhuman power. During his run on Cable, Robert Weinberg planned a story to reveal that Apocalypse was the third Summers brother, a mysterious sibling to the mutants Cyclops and Havok, but Weinberg left the book before he could go along with his plan and the third Summers brother was revealed to be the mutant Gabriel Sum
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
X-Men: The Last Stand
X-Men: The Last Stand is a 2006 superhero film based on the X-Men superhero team introduced in Marvel Comics. It is the sequel to 2003's X2, as well as the third installment in the X-Men film series, was directed by Brett Ratner and written by Simon Kinberg and Zak Penn, it features an ensemble cast including Hugh Jackman, Halle Berry, Ian McKellen, Famke Janssen, Anna Paquin, Kelsey Grammer, James Marsden, Rebecca Romijn, Shawn Ashmore, Aaron Stanford, Vinnie Jones, Patrick Stewart. The film's script is loosely based on two X-Men comic book story arcs: "The Dark Phoenix Saga" by writer Chris Claremont and artist John Byrne, "Gifted" by writer Joss Whedon and artist John Cassaday, with a plot that revolves around a "mutant cure" that causes serious repercussions among mutants and humans, on the resurrection of Jean Grey. Bryan Singer, who had directed the two previous films, X-Men and X2, decided to leave to work on Superman Returns, as he had not defined the storyline for a third film. Matthew Vaughn, hired as the new director, left due to personal and professional issues, was replaced with Ratner.
Filming took place from August 2005 to January 2006 with a budget of $210 million, was the most expensive film at the time of its release. It had extensive visual effects created by 11 different companies. X-Men: The Last Stand was released on May 26, 2006, by 20th Century Fox, it grossed $459 million worldwide, becoming the seventh-highest-grossing film of 2006. Critical reception was mixed, with the acting and the action scenes receiving positive notice, criticism directed at the screenplay, overuse of characters, style. Twenty years in the past, Professor Charles Xavier and Erik Lehnsherr meet young Jean Grey at her parents' house to invite her to join their school, the X-Mansion. Ten years the industrialist father of Warren Worthington III discovers his son is a mutant as Warren tries to cut off his wings. In the present, Worthington Labs announces it has developed an inoculation to suppress the X-gene that gives mutants their abilities, offer the "cure" to any mutant who wants it; the cure is created from the genome of a young mutant named Jimmy, who lives at the Worthington facility on Alcatraz Island.
While some mutants are interested in the cure, including the X-Men's Rogue, many others are horrified by the announcement. Magneto re-establishes his Brotherhood of Mutants with those who oppose the cure, warning his followers that the cure will be forcefully used to exterminate the mutant race. With help from Pyro, Magneto recruits several other mutants, they attack the mobile prison holding Mystique to free her freeing Juggernaut and Multiple Man. Mystique, shielding Magneto from a cure dart, loses her mutant abilities. Magneto abandons her as a result. Meanwhile, Scott Summers, still distraught over the loss of his fiancée Jean Grey, drives to her resting location at Alkali Lake. Jean appears to Summers but, as the two kiss, Jean kills him. Sensing trouble, Xavier sends Storm to investigate; when they arrive, they find only telekinetically floating rocks, Summers' glasses, an unconscious Jean. When Logan and Storm return to the X-Mansion, Xavier explains to Logan that when Jean sacrificed herself to save them, she freed the "Phoenix", a dark and powerful alternate personality which Xavier had telepathically repressed, aware of the Phoenix's godlike destructive potential.
Logan is disgusted to learn of this psychic tampering with Jean's mind but, once she awakens, he discovers that she killed Summers and is not the Jean Grey he once knew. The Phoenix emerges, knocks out Logan, escapes to her childhood home. Magneto learns of Jean's resurrection through Callisto, the X-Men arrive at the Grey home at the same time as the Brotherhood. Magneto and Xavier go in, both vie for Jean's loyalty until the Phoenix resurfaces, she destroys the house and disintegrates Xavier before Logan can stop her. Jean leaves with Magneto. After interrogating Mystique, the FBI discover Magneto's base in the woods. However, the life forms in the camp are all decoy copies of Multiple Man. Magneto and the Brotherhood have gone to storm Alcatraz by telekinetically rerouting the Golden Gate Bridge; the remaining X-Men confront the Brotherhood, despite being outnumbered, arrive just as the military troops who thus far have been neutralizing the attacking mutants are overwhelmed by the Brotherhood.
During the fight, Kitty Pryde saves Jimmy from Juggernaut, sent to kill him. Logan has Colossus throw him at Magneto and distract him long enough for Hank McCoy to inject Magneto with the "cure" and thus nullify his powers. Army reinforcements shoot at Jean just as Logan had calmed her down; the Phoenix disintegrates the troops in retaliation. The Phoenix begins to destroy Alcatraz and anyone within range of her powers. Logan realizes that only he can stop the Phoenix due to his healing adamantium skeleton; when Logan approaches her, Jean begs him to save her. Logan fatally mourns her death; some time mutant rights are obtained and Xavier's school is still operating with Storm as headmistress. The President of the United States appoints Hank McCoy as ambassador to the United Nations. Rogue reveals to Bobby Drake. Meanwhile, Magneto sits at a chessboard in San Francisco and weak; as he gestures toward a metal chess piece, it moves suggesting that the cure is not permanent after all
Activision Publishing, Inc. is an American video game publisher based in Santa Monica. It serves as the publishing business for its parent company, Activision Blizzard, consists of several subsidiary studios; as of January 2017, Activision is one of the largest third-party video game publishers in the world and was the top publisher for 2016 in the United States. The company was founded as Activision, Inc. in October 1979 in Sunnyvale, California, by former Atari game developers, upset at how they were treated at Atari, to develop their own games for the popular Atari 2600 home video game console. Activision was recognized as the first independent third-party video game developer; the 1983 video game crash, in part created by too many new companies trying to follow in Activison's footsteps without the expertise of Activision's founders, hurt Activision's position in console games, forcing them to diversify into games for home computers, including the acquisition of Infocom. After a management shift, with CEO Jim Levy replaced by Bruce Davis, the company renamed itself as Mediagenic and branched out into business software applications.
Mediagenic fell into debt, the company was bought for around US$500,000 by Bobby Kotick and a small group of investors around 1991. Kotick instituted a full rework of the company to cover its debts, dismissing most of its staff, moving the company to Los Angeles, reincorporated under the Activision name. Building on existing assets, the Kotick-led Activision pursued more publishing opportunities, after recovering from the former debt, started acquiring numerous studies and intellectual properties over the 1990s and 2000s, among these being the Call of Duty and Guitar Hero series. Activision Holdings acquires studios. In 2008, Activision's parent merged with Vivendi Games, the parent company of Blizzard Entertainment, formed Activision Blizzard, with Kotick as its CEO. Within this structure, Activision serves to manage numerous third-party studios and publish all of the parent company's games outside of those created by Blizzard. By 1979, Nolan Bushnell had sold Atari, Inc. to Warner Communications and had left the company over several disagreements with the direction Warner wanted to take the company with the popular Atari 2600 game console.
Bushnell's replacement as CEO, Ray Kassar, showed little respect to developers, giving them no financial compensation for games that did well, would not allow developers' names be credited with games for fear they would be procured by other game companies. David Crane, one of Atari's programmers, recalled a memo sent by Kassar that listed the best-selling cartridges from the previous year to help guide game ideas. Crane had considered that for those games that he was responsible for had brought in over US$20 million for the company but he was still only receiving a US$20,000 salary. Crane, along with Larry Kaplan, Alan Miller and Bob Whitehead became vocal about the lack of recognition within the company and became known as the "Gang of Four"; the group met with Kassar in May 1979 to demand that the company treat developers as record labels treated musicians, with royalties and their names on game boxes. Kaplan, who called the others "the best designers for the in the world", recalled that Kassar called the four men "towel designers" and claimed that "anybody can do a cartridge".
The four made the decision to soon leave Atari and start their own business, but were not sure how to go about it. Some developers had left Atari, only to be hired back as contractors doubling their pay rate, but the four wanted something more ambitious. In 1979, the concept of third-party developers did not exist; as software for video game consoles were published by makers of the systems for which the games were designed. The four decided to create their own independent game development company, they were directed by their attorney to Jim Levy, at the time working for GRT Records to raise venture capital to go into the manufacture of cassette tape drives for early home computers. Levy listened to their plans, agreed with its direction, helped the four to secure about US$1 million in capital from Sutter Hill Ventures. By August and Miller had left Atari, with Whitehead and Kaplan joining them shortly after. Activision was formally founded on October 1, 1979, with Levy serving as CEO; the company was named "Computer Arts, Inc." while they considered a better title.
While the four had thought of the name VSync, Inc. there was fear that the public would not understand or known how to say it. The four's departure from Atari created a major dent in Atari's developer staff, Atari pursued legal action from 1980 to 1982 to try to shut down Activision, claiming the four had stolen trade secrets; the lawsuit was settled by 1982, with Activision agreeing to pay royalties to Atari but otherwise legitimizing the third-party development model. The four were aided by their knowledge of the Atari 2600 to be able to develop their cartridges as well as software tricks with the console in making their own games, trying to make them visually distinctive from Atari-produced games; each developed their own title, about one a year over the first few years of the company. To further distinguish themselves, Activision's boxes were brightly-colored, predominately used an in-game screenshot on the back cover so consumers would be aware of what they were getting. Instruction manuals for games devoted a least one page to credit the developer.
Additionally, for nearly all of Activision's games through 1983, the instruction manual included instructions for sending the
Video game genre
A video game genre is a classification assigned to a video game based on its gameplay interaction rather than visual or narrative differences. A video game genre is defined by a set of gameplay challenges and are classified independently of their setting or game-world content, unlike other works of fiction such as films or books. For example, a shooter game is still a shooter game, regardless of when it takes place; as with nearly all varieties of genre classification, the matter of any individual video game's specific genre is open to personal interpretation. Moreover, each individual game may belong to several genres at once; the first attempt to classify different genres of video games was made by Chris Crawford in his book The Art of Computer Game Design in 1984. In this book, Crawford focused on the player's experience and activities required for gameplay. Here, he stated that "the state of computer game design is changing quickly. We would therefore expect the taxonomy presented to become obsolete or inadequate in a short time."
Since among other genres, the platformer and 3D shooter genres, which hardly existed at the time, have gained a lot of popularity. As hardware capabilities have increased, new genres have become possible, with examples being increased memory, the move from 2D to 3D, new peripherals and location. Though genres were just interesting for game studies in the 1980s, the business of video games expanded in the 1990s and both smaller and independent publishers had little chance of surviving; because of this, games settled more into set genres that larger publishers and retailers could use for marketing. Due to "direct and active participation" of the player, video game genres differ from literary and film genres. Though one could state that Space Invaders is a science-fiction video game, such a classification "ignores the differences and similarities which are to be found in the player's experience of the game." In contrast to the visual aesthetics of games, which can vary it is argued that it is interactivity characteristics that are common to all games.
Descriptive names of genres take into account the goals of the game, the protagonist and the perspective offered to the player. For example, a first-person shooter is a game, played from a first-person perspective and involves the practice of shooting; the term "subgenre" may be used to refer to a category within a genre to further specify the genre of the game under discussion. Whereas "shooter game" is a genre name, "first-person shooter" and "third-person shooter" are common subgenres of the shooter genre. Other examples of such prefixes are real-time, turn based, side-scrolling; the target audience, underlying theme or purpose of a game are sometimes used as a genre identifier, such as with "games for girls," games for cats,"Christian game" and "Serious game" respectively. However, because these terms do not indicate anything about the gameplay of a video game, these are not considered genres. Video game genres vary in specificity, with popular video game reviews using genre names varying from "action" to "baseball."
In this practice, basic themes and more fundamental characteristics are used alongside each other. A game may combine aspects of multiple genres in such a way that it becomes hard to classify under existing genres. For example, because Grand Theft Auto III combined shooting and roleplaying in an unusual way, it was hard to classify using existing terms. Since the term Grand Theft Auto clone has been used to describe games mechanically similar to Grand Theft Auto III; the term roguelike has been developed for games that share similarities with Rogue. Elements of the role-playing genre, which focuses on storytelling and character growth, have been implemented in many different genres of video games; this is because the addition of a story and character enhancement to an action, strategy or puzzle video game does not take away from its core gameplay, but adds an incentive other than survival to the experience. According to some analysts, the count of each broad genre in the best selling physical games worldwide is broken down as follows.
The most popular genres are Shooter, Role-playing and Sports, with Platformer and Racing having both declined in the last decade. Puzzle games have declined when measured by sales, however, on mobile, where the majority of games are free-to-play, this genre remains the most popular worldwide. List of video game genres
The Sentinels are a fictional variety of mutant-hunting robots appearing in American comic books published by Marvel Comics. They are depicted as antagonists to the X-Men; the Sentinels played a large role in the 1990s X-Men animated series and have been featured in several X-Men video games. The Sentinels are featured prominently in the 2014 film X-Men: Days of Future Past while simulated versions made brief appearances in the 2006 film X-Men: The Last Stand and the 2016 film X-Men: Apocalypse. In 2009, The Sentinels was ranked as IGN's 38th Greatest Comic Book Villain of All Time. Created by Stan Lee and Jack Kirby, they first appeared in The X-Men #14. Sentinels are programmed to capture or kill them. Though several types of Sentinels have been introduced, the typical Sentinel is three stories tall, is capable of flight, projects energy blasts, can detect mutants. Sentinels are designed to hunt mutants. While many are capable of tactical thought, only a handful are self-aware. Sentinels are technologically advanced, have exhibited a wide variety of abilities.
They are armed, capable of flight, can detect mutants at long range. They possess vast physical strength, their bodies are resistant to damage; some are able to alter their physical forms or re-assemble and reactivate themselves after they have been destroyed. Some Sentinel variants have the ability to learn from their experiences, developing their defenses during an engagement. Several groups of Sentinels have been created and/or led by a single massive Sentinel called Master Mold; some Sentinels are equipped with an inconspicuous logic loop in case they should go rogue to convince them that they are mutants as demonstrated in the Tri-Sentinel. There are different types of Sentinels that appear in the comics: Mark I and Master Mold - Created by Bolivar Trask. First appeared in X-Men #14. Bolivar Trask sacrificed himself to destroy the Master Mold. Mark II - Created by Larry Trask; this model was capable of adapting to and counteracting superpowers instantly. First appeared in X-Men #57. Composite - Created by merging the remaining portions of five Sentinels destroyed by the X-Men and came under control of Ashley Martin.
It was destroyed by her. Mark III - Created by Stephen Lang and Project: Armageddon, secretly funded by Edward Buckman and the Council of the Chosen. First appeared in X-Men #98. X-Sentinels - Created by Stephen Lang, they are androids. Mark IV - Created by Sebastian Shaw. First appeared in X-Men #151. Mark V - Created by Sebastian Shaw for U. S. government's Project Wideawake. First appeared in New Mutants #2. Mark VI - Created by Shaw Industries for Project Wideawake and used by Onslaught. Incorporated parts of Project Nimrod. Mark VII - Created by Shaw Industries, they were remote controlled. Nimrod - A prototype Super Sentinel that arrived from the "Days of Future Past" timeline and was reactivated by Reverend William Stryker. Project Nimrod - Created by an offshoot of Project Wideawake and was in the experimental stage. Cancelled after X-Force interfered. Based on the Nimrod Sentinel. Prime Sentinels - Created by Bastion and Operation: Zero Tolerance, they are disabled humans equipped with nanotechnology without their knowledge at Prospero Clinic.
The Prime Sentinels were used as sleeper agents until activated by presence of a mutant. Omega Prime Sentinels - The second generation of Prime Sentinels. Karima Shapandar is one of them. Wild Sentinels - Built in secret by a new Master Mold in Ecuador, activated by Donald Trask III and used by Cassandra Nova. New units are produced based on the available resources – salvaged parts and sometimes entire vehicles – which give this particular type of Sentinel a diverse, rag-tag appearance. Due to both this and their design flexibility, a wide variety of different shapes and forms have been observed; the Mega-Sentinels used to destroy Nanosentinels both belong to this kind of Sentinel. The technology used in Nano-Sentinels is employed by Weapon Plus for their artificial evolution experiments and the creation of their Super-Sentinels. Mark VIII - Sentinel Squad O*N*E, designed by Stark Enterprises. Unlike other Sentinels, the Mark VIII requires a human pilot. Bio-Sentinels - Humans infected by a technological virus created by Simon Trask, the victims become anti-mutant activists, who at Trask's command, are transformed into robotic Sentinels mindlessly following Trask's commands.
Stark Sentinels - The Stark Sentinels debuted during the AXIS storyline. Under the influence of the Red Skull, Tony Stark created a model of Sentinels based on the knowledge of different super heroes he acquired after the Civil War storyline; when Red Skull became the Red Onslaught, the Avengers arrived to Genosha to stop him, he deployed the Stark Sentinels. Tri-Sentinel - A combination of three standard Sentinels bonded together by Loki, defeated by Spider-Man at the peak of his cosmic powers. Revived by The Life Foundation, only to be destroyed again by Spider-Man and Nova. Mendel Stromm obtained another one from the bunker of the bankrupt Life Foundation and was approached by a mysterious benefactor who prepared to give him a Master Mold that specializes in creating Tri-Sentinels. Soviet Sentinels - Created by the Soviet Union and purchased by Cuban government officials. Super-Sentinels - Using Nano-Sentinel technology, Weapon Plus created artificially evolved superhumans at The World. Three of the creations were