![]() Raskin et al., “A Randomized Trial of Rosiglitazone Therapy in Patients With Inadequately Controlled Insulin-Treated Type 2 Diabetes”, Diabetes Care, 24(7):1226-1232 (2001). ![]() Pellicciari et al., “6α-Ethyl-Chenodeoxycholic Acid (6-ECDCA), a Potent and Selective FXR Agonist Endowed with Anticholestatic Activity”, J. Nesto et al., “Thiazolidinedione Use, Fluid Retention, and Congestive Heart Failure”, Diabetes Care, 27(1):256-263 (2004). Mi et al., “Structural Basis for Bile Acid Binding and Activation of the Nuclear Receptor FXR”, Mol. Mangelsdorf et al., “The RXR Heterodimers and Orphan Receptors”, Cell, 83:841-850 (1995). Kliewer et al., “Peroxisome Proliferator-Activated Receptors: From Genes to Physiology”, Endo J., 56:239-263 (2001). U.S.A., 101(10):3668-3673 (2004).įiorucci et al., “The Nuclear Receptor SHP Mediates Inhibition of Hepaptic Stellate Cells by FXR and Protects Against Liver Fibrosis”, Gastroenterology, 127:1497-1512 (2004).įorman et al., “Identification of a Nuclear Receptor That Is Activated by Farnesol Metabolites”, Cell, 81:687-693 (1995). 141(2), 485-494, 1974.īishop-Bailey et al., “Expression and activation of the farnesoid X receptor in the vasculature”, Proc. ![]() TGR5 modulators and methods of use thereofĪnderson et al., “Study of bile salt evolution, including techniques for small-scale identification and their application to amphibian biles.” biochemical Journal, vol. METHODS FOR MODULATING ACTIVITY OF THE FXR NUCLEAR RECEPTOR Use of FXR synthetic ligands for the treatment of diseseas linked to cholesterol imbalance and colon cancerĬontrolling cholesterol catabolism via FXR receptor and screening for FXR receptor modulators METHODS OF SCREENING FOR COMPOUNDS MODULATING FXR RECEPTORS New derivatives of biliary acids, process for the production thereof and pharmaceutical compositions containing the same.īiliary acid derivatives, process for their preparation and pharmaceutical compositions containing them.īilliary acid derivatives, processes for the preparation thereof and phamaceutical compositions containing them ![]() Methods for modulating activity of the FXR nuclear receptorįluorinated bile acid derivatives, processes for the preparation thereof and pharmaceutical compositions containing themīiliary acid derivatives, processes for the preparation thereof and pharmaceutical compositions containing themĭerivatives of biliary acids, process for the production thereof and corresponding pharmaceutical compositions Method of treating metabolic disorders especially diabetes, or a disease or condition associated with diabetes Methods for modulating FXR receptor activityįXR NR1H4 nuclear receptor binding compounds Compositions and methods for hepatoprotection and treatment of cholestasis ![]()
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![]() Though admittedly, it does feel like a mobile game that’s just been adapted to work in your browser, but whatever. While we don’t have any mobile game movie tie-ins at the moment, over at the official website, you can play the ECTO-1 Speed Trap browser game. Those business gains have taken a toll on the craft, though all it takes is one look at games like Call of Duty: Black Ops 4 and Ghost Recon: Breakpoint to see that.With Sony finally getting the buzz going once again for Ghostbusters: Afterlife, the marketing team has gone to work for those of us who like to play a little while we wait for the film (and our morning coffee). ![]() It’s been working quite well for them too Activision and the other major publishers are bigger now than they’ve ever been, so one could definitely argue that this path is good for business. Massive companies require massive profit if they want to keep growing and pleasing investors, so it’s no surprise that they’re only interested in producing massively-budgeted games capable of yielding massive and constant return. Games with modest budgets tend to only generate modest return and that’s just not good enough for the modern mega-publisher. Big publishers like Activision, EA and Ubisoft have largely moved-on from investing in mid-to-low budget titles like this the reason being money of course. In other words, it’s something that’s almost never seen outside of the independent space nowadays. ![]() It isn’t all that long and isn’t all that impressive in terms of its visuals, but it still delivers a charming and memorable experience. The sum of all this is an average game for the time. The technology the ghostbuster carry around on their backs gets ever more zany and dangerous-looking as the game progresses there’s even a system that keeps track of just how much collateral property damage is caused during the ghost-catching process. Capturing/defeating ghosts varies between each ghost type and the act of wrangling them into the trap is still unique even ten years later. It’s also creative in several small ways. It’s linear, casts the player as a mostly unimportant role and doesn’t trust them with small actions like opening doors. Put simply, modern gaming is a very different animal than it used to be.įrom beginning to end, Ghostbusters: The Video Game Remastered is obviously a product of the late 2000s. ![]() It seems odd at first, but not when one thinks about what gaming is now versus what it was ten years ago. For us, the game is kind of a nostalgic experience even though it’s only ten years old. This is likely true for many gamers out there, but not for some of those who originally enjoyed it during the PS3/Xbox 360 generation. With all manner of high-profile titles releasing in October and November, an old Ghostbusters game should bear almost no significance whatsoever. The release of Ghostbusters: The Video Game Remastered should have been something insignificant. ![]() ![]() By 1981, Kramer had the tools, and the experience, to take guitar mass production to a new level. Generally, the ratio of basses to guitars produced was about 4:1, primarily because bass players were more willing to experiment. Kramer's "alumi-neck" line lasted roughly until 1982. The hardware was also from a known quality brand: Schaller tuning keys and bridges Schaller and DiMarzio pickups custom-made strap pins aluminum cavity covers. The bodies were usually made of high grade Walnut or Maple, with the earliest instruments made of exotic tonewoods including Koa, Afromosia, Swietenia, Shedua, and Bubinga. Gary Kramer's inserts, set in epoxy, were usually walnut or maple. Other features of the necks included aluminum dots, and a zero fret. Introduced in 1976, early models featured the trademark "tuning fork head" aluminum-reinforced necks with a fretboard made of Ebonol-material similar to one used in bowling ball production. He was to sell back his interests and receive royalties then represent the company out west but none of this seems to have happened. The rest of the account is murky: Kramer says he was supposed to increase production but was too inexperienced in that area so he wanted to move back to the West Coast. Other involved parties were Henry Vaccaro, a real estate businessman who invested money in the venture and Peter LaPlaca, who had experience with Norlin, the company that owned Gibson Guitar Corporation from 1969 to 1986. ![]() ![]() By 1975 he had hooked up with a friend from New York, Dennis Berardi and the two founded BK International, which engaged luthier Phil Petillo to make prototypes for them. Kramer's improvement consisted of two wooden inserts in the back of the neck. Kramer then founded the company that still bears his name, improving on the Bean design-Bean's necks were heavy and the material felt cold to the touch. Bean and Gary Kramer started the Travis Bean guitar company in 1974, in Sun Valley, and while their guitars did well, Bean lost interest and left most of the business aspects to Kramer and so the two parted ways. ![]() There is some dispute over the company's early history but it begins with Travis Bean, a California luthier who was building guitars with aluminum necks. ![]() |
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