events (Main and Jacobs 2014). Programs that do not involve verifying kills may be more applicable to Florida, such as those that use a payment for ecosystem services (PES) strategy. In a PES program, the landowner is compensated based on some performance criteria related to conservation goals, such as the number of young produced, prey density, or the conservation and management of desired habitat (Nelson 2009, Zabel and Engel 2010, Dickman et al. 2011). Offering Florida ranchers an incentive to provide habitat for large carnivores would help to compensate for livestock depredation and may make p

compensation progra

Livestock depredation is often the principle cause of conflict between large carnivores and humans and is reported for a variety of species around the world

Silcrete is traditionally described by archaeol-ogists as a nonlocal fine-grained material that ishighly workable in its natural state (4,9,17).However, our experimental replication using sil-crete from sources on the south coast near MosselBay and Still Bay shows that these silcretes intheir raw quarried form are difficult to flake con-sistently into formal tools. In Australia, indigenousknappers heated silcrete with fire (heat treatment)to improve the flaking quality of the material (18).Silcrete responds to heat treatment with significantimprovement in workability and has a greater tol-erance for high temperatures than do chert and flint

Given the obvious craftsmanship in the Schöningen spears and other wooden objects, wemust surely now be thinking of Neanderthals as carpenters. Such objects actually meangreater investment of time and energy than any biface or even a Levallois core. And althoughbone tools are generally less heavily worked, they show that Neanderthals’ concern forselection and quality extended across all raw materials. They were among the first to fullyrecognise that animal bodies offered more than food. Carcasses were increasingly treated like‘bone quarries’, and using retouchers both drew on and deepened knowledge of animalanatomy. Retouchers not only enabled more specialised lithic tools, but also massivelyboosted resharpening and therefore the useable life of artefacts.

tool variabilitysimply reflected function: Neanderthals doing different things, in different places.Observations within hunter-gatherer communities showed that retouching of flakes was oftenabout resharpening them, rather than setting out to create a particular edge.

Just liketheir more ancient counterparts they used bifaces as multi-purpose tools with edges thatcould effectively pierce, slice or scrape materials.

Being easy toslot in and out, just like blades on a craft knife, they provided sharp edges of a different sort

Quina.9Prehistorians originally focused on its distinctive, steeply retouched scraping tools, but inrecent decades attention shifted to how it worked as a system for making big flakes perfectlysuited to resharpening

First, Discoid technology was specialised, yet somewhat disposable: the flakes weren’tintended to last long and be transported elsewhere. Second, this kind of techno-complexwould only have suited Neanderthals who knew the rock resources extremely well, andweren’t regularly moving long distances

Looking first at Discoid, it turns out to be a masterclass in economy. The cores needonly a few initial preparatory flakes to create a decent knapping angle, and every flakethereafter is the ‘good stuff’: sharp but easy to handle and ready-to-use

that flakes of various kinds had over bifaces is that they were far moreeasily retouched

It first appears in Africa by around 500 ka, probablymade by populations ancestral to H. sapiens, but in Europe it really explodes just as we seeNeanderthal anatomy fully materialise between 400 and 350 ka. What makes MiddlePalaeolithic flaking different is that it further developed the conceptual division of stoneblocks, with cores treated as two halves. By shaping the base and preparing special sidezones to be struck, it was possible to guide how flakes came off the upper surface, controllingtheir shape and size

More artisans than klutzes, they appreciated the right tools for the job.

Arrangingobjects according to visual similarity and very basic technological features allowed them tocreate ‘typologies’. One of the first to do this was de Jouannet, who was not only digging uplithics very early on but also trying to understand them. He assumed that they became morerefined over time, and in 1834 produced a chronological typology placing knapped1(chipped) stone objects deeper in time than ground or polished tools

I describe my work as throwing boulders in the middle of the road that people have to get around you know, that’s what I try to do.

As a result, there are currently about 175 distinct breeds recognized by the AKC, while over 350 breeds have worldwide recognition

Innovations that appear to emerge during this time period include elaborate burials, sometimes including grave goods and ochre pigment; recurrent architectural features of huts or tents, often with associated hearths; personal adornment in the form of perforated and notched pendants and beads;

In terms of time, most of human technological development and the last 2·5 million years of human evolution has taken place during the Stone Age, particularly the period designated as the “Paleolithic” or the “Old Stone Age”

After the boulders came to rest, I had the feel-ing of an eerie presence, something alive in the rough stone spheres that had come to rest in the snow in front of me. I felt as if my entire being had been slightly rearranged, at a molecular level. It was a classic Kojima momen

‘In America, they’re used to shooters, so they don’t gulp it down,’’

‘You get a sense, for good or ill, that nobody ever told Kojima ‘no.’ That any idea, no matter how seemingly dis-sonant or irrelevant, was ever shot down.’’

Hollywood-style narratives had been tried in games before, but they tended to founder on unimaginative stories, sub-B-movie acting and jarring shifts in visual style between the gameplay and the noninteractive narrative sequences (‘‘cutscenes,’’ in video game lingo). Dylan Holmes, in his book on video-game story-telling, ‘‘A Mind Forever Voyaging,’’ has noted that Metal Gear Solid created a seamless tran-sition between game and story by rendering its cutscenes in the same graphical engine as the rest of the game.

They’re games in which the object is not to kill anyone, which goes against what long has been the essence of the action game. But Metal Gear Solid managed to make picking your way through enemy-in-fested territory immersive and fun.

Following the Death Stranding hype cycle was a bit gamelike in itself, as fans were forced to construct some mental image of the game out of Kojima’s sporadic hints

Amelia Gray features houses and basements that taunt their characters with unsolvable puzzles

Maniac Mansion

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interminable

Memories of the outside world will never have the same tonality as those of home and, by recalling these memories, we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost

Banjo Kazooie

a real cosmos in every sense of the word

amalgam

structural aspects go neglected.

counterintuitive

Esper Factory of Final Fantasy III

The feeling was a reaction to a physical environment

Ganon stormed out of one of the paintings on the walls, riding a red-eyed horse

Jaar intended Park of Laments to be a space of seclusion where one could contemplate historical trauma