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The objective of this creative project was to gain experience in digital modeling, animation, coding, shader development and implementation, model integration techniques, and application of gaming principles and design through developing a professional educational game. The team collaborated with Glendale Community College (GCC) to produce an interactive product intended to

The objective of this creative project was to gain experience in digital modeling, animation, coding, shader development and implementation, model integration techniques, and application of gaming principles and design through developing a professional educational game. The team collaborated with Glendale Community College (GCC) to produce an interactive product intended to supplement educational instructions regarding nutrition. The educational game developed, "Nutribots" features the player acting as a nutrition based nanobot sent to the small intestine to help the body. Throughout the game the player will be asked nutrition based questions to test their knowledge of proteins, carbohydrates, and lipids. If the player is unable to answer the question, they must use game mechanics to progress and receive the information as a reward. The level is completed as soon as the question is answered correctly. If the player answers the questions incorrectly twenty times within the entirety of the game, the team loses faith in the player, and the player must reset from title screen. This is to limit guessing and to make sure the player retains the information through repetition once it is demonstrated that they do not know the answers. The team was split into two different groups for the development of this game. The first part of the team developed models, animations, and textures using Autodesk Maya 2016 and Marvelous Designer. The second part of the team developed code and shaders, and implemented products from the first team using Unity and Visual Studio. Once a prototype of the game was developed, it was show-cased amongst peers to gain feedback. Upon receiving feedback, the team implemented the desired changes accordingly. Development for this project began on November 2015 and ended on April 2017. Special thanks to Laura Avila Department Chair and Jennifer Nolz from Glendale Community College Technology and Consumer Sciences, Food and Nutrition Department.
ContributorsNolz, Daisy (Co-author) / Martin, Austin (Co-author) / Quinio, Santiago (Co-author) / Armstrong, Jessica (Co-author) / Kobayashi, Yoshihiro (Thesis director) / Valderrama, Jamie (Committee member) / School of Arts, Media and Engineering (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of English (Contributor) / Computer Science and Engineering Program (Contributor) / Computing and Informatics Program (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Sustainability (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
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This thesis takes the form of a nonfiction graphic novel to analyze how ideas about monsters are subverted in DreamWorks’s How to Train Your Dragon and Guillermo del Toro’s The Shape of Water, and how these subversions are queer acts. Both of these movies initially introduce the inhuman as something

This thesis takes the form of a nonfiction graphic novel to analyze how ideas about monsters are subverted in DreamWorks’s How to Train Your Dragon and Guillermo del Toro’s The Shape of Water, and how these subversions are queer acts. Both of these movies initially introduce the inhuman as something to fear, but later deliver messages of empathy and respect as the protagonists learn to communicate with and befriend the inhuman. Interestingly enough, these movies present contrasting opinions on whether monsters should be integrated into society or remain outcast; How to Train Your Dragon shows a society where dragons become normalized by the end and argues for the integration of monsters into society. Conversely, The Shape of Water concludes with the protagonist Elisa escaping society with the Amphibian Man, therefore arguing that the monstrous is to be kept separate from society at large. The act of personifying monsters elevates them to the same level of respect as humans. I maintain that the personification of monsters queers the definition of both person- and monsterhood by blurring the distinctions between the two. This is important because it allows humans to recognize not just the humanity of monsters, but the monstrosity in ourselves.
ContributorsPhillips, Kelsey (Author) / Van Engen, Dagmar (Thesis director) / Deacon, Deborah (Committee member) / Barrett, The Honors College (Contributor) / Dean, W.P. Carey School of Business (Contributor) / School of Art (Contributor)
Created2022-05