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Heinrich Isaac

Heinrich Isaac (ca. 1450 – 26 March 1517) was a Netherlandish Renaissance composer of south Netherlandish origin. He wrote masses, motets, songs (in French, German and Italian), and instrumental music. A significant contemporary of Josquin des Prez, Isaac influenced the development of music in Germany. Several variants exist of his name: Ysaac, Ysaak, Henricus, Arrigo d'Ugo, and Arrigo il Tedesco among them. (Tedesco means "Flemish" or "German" in Italian.)

Early life
Little is known about Isaac's early life (or indeed what he called himself), but it is probable that he was born in the Brabant. During the late 15th century, standards of music education in the region were excellent, and he was probably educated in his homeland, although the location is not known. Sixteenth-century Swiss music theorist and writer Heinrich Glarean claimed Isaac for Germany by dubbing him "Henricus Isaac Germanus", but in his will Isaac called himself by the patronymic "Ugonis de Flandria", 'Hugo's [son] from Flanders'. A writer in the Milanese Revista critica della letteratura italiana, June 1886, speculated that this patronymic might be connected to 'Huygens' and discovered the name "Isaacke" in the town archives of Bruges.

Career
Heinrich Isaac's career spanned well over thirty years and allowed him to travel far from his homeland of Flanders into Germany, Italy, and Austria, as well as other parts of central Europe. While the absence of plentiful primary sources makes it hard for us to map out Isaac's life, piecing together the sources we do have along with the works he wrote gives us a good picture of just how popular this Franco-Flemish composer was in his time. Isaac was probably writing music by the 1470s, and the first document mentioning his name dates back to 15 September 1484, placing him in Innsbruck as a singer for Duke Sigismund of Austria, of the House of Habsburg. The following year Isaac migrated to Florence, since documents show that by July 1485 Isaac had become employed as a singer at the church Santa Maria del Fiore. By the middle of 1491, he was designated as a singer at Santissima Annunziata, a position that he held until 1493.

Several documents illustrate Isaac's long stay in Florence under the employment of Santa Maria del Fiore and Santissima Annunziata as a singer, and also suggest that he may have developed a close working-relationship with Lorenzo de' Medici. It is speculated that it was Medici who may have summoned Isaac to Florence from Innsbruck in 1484. Previously, Isaac had been identified as an organist to Lorenzo but the Isaac who served at this post is now known to have been Isaac Argyropoulos. During his presence in Florence from 1484 until the end of 1496, Isaac probably composed several masses, motets and secular songs, including missa "J'ay pris amours" and the carnival song "Hora è di Maggio". In 1487 Isaac composed the piece "A la battaglia" to commemorate the battle between Genoa and Florence for the castle Sarzanello although there is much debate over the exact date and purpose of the piece. Isaac's relationship with Lorenzo de' Medici must have been fairly close, because allegedly between 1488 and 1489 he composed the music for a play called "San Giovanni e San Paolo", written by Medici himself. Moreover, when Lorenzo died in April 1492 Isaac composed two motets in his memory. Lorenzo's son Piero inherited everything he owned, including his musical groups. In September 1492 Piero took his musical groups to Rome to perform for the coronation of Pope Alexander VI. Records show that Isaac was one of the three singers for whom clothing was purchased for the trip, implying that he probably performed for the Pope.

During his first stay in Florence Isaac also had dealings with a Florentine named Piero Bello, whose daughter Bartolomea was Isaac's wife. Although the actual date of the marriage is unknown, records imply that it may have been arranged for Isaac by Lorenzo de' Medici when he summoned Isaac from Flanders. There is record of Piero Bello giving Isaac a dowry for his daughter in January 1495.

In November 1496 after Isaac and his wife spent some time in Pisa, they moved to Vienna and became employed by Emperor Maximilian I. By the winter of 1496 Isaac and Bartolomea had gone from Pisa to Vienna to Innsbruck, and on 3 April 1497, Isaac was appointed court composer for Maximilian I. He remained under Maximilian's employment from 1496 until his death, although he did not remain stationary during that period. In fact, Isaac traveled extensively around Europe north of Italy. Payment documents from Maximilian's court imply Isaac traveled with the court to Torgau, Augsburg, Nürnberg, Wels, and back to Innsbruck between 1497 and 1501.

In 1502, Isaac returned to Italy, going to Florence to make arrangements with the hospital Santa Maria Nuova; payments were made to the hospital in return for health and food provisions. Recently discovered documents offer evidence that Isaac began making yearly payments to the confraternity of Santa Barbara for mutual assistance. On 15 August 1502, Isaac wrote his first will which included names of his proprietors, alluding to the fact that he was doing well to care for his wife and property should anything happen to him. He then traveled to Ferrara to the Este court where he wrote the motet "La mi la sol la sol la mi" in merely two days and competed with Josquin for employment: a famous letter from the agent of the Este family compared the two composers, saying that "[Isaac] is of a better disposition among his companions, and he will compose new works more often. It is true that Josquin composes better, but he composes when he wants to and not when one wants him to."

Between 1505 and 1512 there are records of Isaac having dealings in Augsburg, Florence and Constance (see Konstanz), the latter in which he compiled his largest set of works: Choralis Constantinus. This monumental collection of mass propers was commissioned by the Constance cathedral on 14 April 1508 and completed by Isaac and his student Ludwig Senfl by the winter of 1509. Isaac and Bartolomea were almost definitely back in Florence by this time since the completed Choralis Constantinus had to be mailed to the cathedral.

On 4 January 1512 Isaac bartered his house in Florence for a smaller one, signifying his settling down. He and his wife probably remained there except for a few short trips until his death. Isaac also made a point to revise his will on 24 November 1512 in which he requested that a mass be said every year forever at Santissima Annunziata or another church should Annunziata be unable. Bartolomea would be able to pay for these masses with provisions. On the recommendation of Pope Leo X and of his brother Giuliano de' Medici, he was given an honorary position as chief of the Chapel of Polyphonic Music at Santa Maria del Fiore on 30 May 1514, which served as a pension. Isaac also continued to receive payments from the court of Maximilian I regardless of his living in Florence. In December 1515, Pope Leo X made a visit to Florence, where he almost certainly would have heard Isaac's music performed. Shortly before his death, Isaac wrote a third and final will, which shortened his previous request to instead have a commemorative mass said every year for ten years. Isaac died on 26 March 1517. Santissima Annunziata received payment the following day to hold his funeral. A last posthumous donation was made to the confraternity of Santa Barbara in the amount of five florins, which was equal to one quarter the value of Isaac's home. Bartolomea survived her husband by just over seventeen years and died on 30 May 1534.

Compositions
Isaac was one of the most prolific composers of the time, producing an extraordinarily diverse output, including almost all the forms and styles current at the time; only Lassus, at the end of the 16th century, had a wider overall range. Music composed by Isaac included masses, motets, songs in French, German, and Italian, as well as instrumental music. His best known work may be the song "Innsbruck, ich muss dich lassen", of which he made at least two versions. It is possible, however, that the melody itself is not by Isaac, and only the setting is original. The same melody was later used as the theme for the Lutheran hymn "O Welt, ich muss dich lassen", which was the basis of works by Johann Sebastian Bach, including his St Matthew Passion and Johannes Brahms.

Of his settings of the ordinary of the mass, 36 survive; others are believed to have been lost. Numerous individual movements of masses survive as well. But it is composition of music for the Proper of the Mass – the portion of the liturgy which changed on different days, unlike the ordinary, which remained constant – which gave him his greatest fame. The huge cycle of motets which he wrote for the mass Proper, the Choralis Constantinus, and which he left incomplete at his death, would have supplied music for 100 separate days of the year.

Isaac is held in high regard for his Choralis Constantinus. It is a huge anthology of over 450 chant-based polyphonic motets for the Proper of the Mass. It had its origins in a commission that Isaac received from the Cathedral in Konstanz, Germany in April 1508 to set many of the Propers unique to the local liturgy. Isaac was in Konstanz because Maximilian had called a meeting of the Reichstag (German Parliament of nobles) there and Isaac was on hand to provide music for the Imperial court chapel choir. After the deaths of both Maximilian and Isaac, Ludwig Senfl, who had been Isaac's pupil as a member of the Imperial court choir, gathered all the Isaac settings of the Proper and placed them into liturgical order for the church year. But the anthology was not published until 1555, after Senfl's death, by which time the reforms of the Council of Trent had made many of the texts obsolete. The motets remain some of the finest examples of chant-based Renaissance polyphony in existence.

Isaac composed a 6-voice motet Angeli Archangeli for the Feast of All Saint's Day, honoring angels, archangels, and all other saints. Another famous motet by Isaac is Optime pastor (Optime divino), written for the accession to the papacy of Medici pope Leo X. This motet compares the Pope to a shepherd capable of soothing all of his flock and binding them together.

While in the service of the Medici in Florence, Isaac wrote a lament on the death of Lorenzo de' Medici, Quis dabit capiti meo aquam (1492), which set words by Lorenzo's favorite poet, Angelo Poliziano.

Influence
The influence of Isaac was especially pronounced in Germany, due to the connection he maintained with the Habsburg court. He was the first significant master of the Franco-Flemish polyphonic style who both lived in German-speaking areas, and whose music was widely distributed there. It was through him that the polyphonic style of the Netherlands became widely accepted in Germany, making possible the further development of contrapuntal music there. The Austrian serialist composer Anton Webern (1883–1945) gained his PhD on Isaac's Choralis Constantinus, with Prof. Guido Adler, the doyen of musicology in Austria and Germany.

title: Heinrich Isaac


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XPilot

XPilot is a multiplayer video game. It is open source and runs on many platforms. Although its 2D graphics have improved over time, they still resemble the style of Thrust. Gameplay includes Capture the Flag, base defense, racing and deathmatches. XPilot uses a client–server architecture, in which a central metaserver receives information from all XPilot servers on the Internet.

History
In 1991, Bjørn Stabell and Ken Schouten, then computer science undergraduates at the University of Tromsø, began writing XPilot, inspired by the earlier game Thrust. It was originally developed in C on HP9000 workstations which ran Unix. Soon after its first public release in 1992, Stabell and Schouten began receiving feedback, suggestions, and patches from players all around the world. Other XPilot users wrote documentation and contributed source code to the project. By 1996, there were nearly one hundred XPilot servers worldwide.

XPilot's code has been forked several times. XPilot5 is a complete rewrite of XPilot in C++. Unlike its predecessor, it comes with sound and is bundled with applications to configure the keyboard, ship shapes and behavior. The latest stable version of XPilot5 is 5.0.0. In late 2000, another group of developers began a branch of XPilot, later labeled XPilot NG (for next generation). Programmed in C, it contains two clients, either X11-based or SDL/OpenGL-based. Unlike the block-based maps of the original game, XPilot NG provides high frame rates and polygon maps. A new Java based map editor provides better map editing facilities. The latest version of XPilot NG is 4.7.2. In 2009, 7b5 Labs released XPilot iPhone, an XPilot client for Apple's iPhone and iPod Touch. It is based on XPilot and XPilot NG and uses touchscreen controls. While these modern versions implement many new features, they are mostly compatible with the original program.

Gameplay
The metaserver contains a list of all XPilot maps on the Internet. These maps, created by users, feature several types of gameplay. In deathmatches, points are earned by destroying other players or robots. Users can increase their firepower by picking up items such as missiles, mines and lasers. Players can also defend themselves by gathering cloaks, shields, ECMs and armor. In racing maps, players earn points based on their finishing position. The objective of team games is to "destroy" the opponent's ball by placing it in the treasure chest. Team games may also be run in a slightly different Capture the flag mode. Other modes exist, like trying to survive as long as possible surrounded by cannons, by dodging the bullets, or combinations of different modes.

Community
XPilot's in-game chat and multiplayer functionality spawned the formation of a community. Contact between players was facilitated by newsgroups such as alt.games.xpilot and later rec.games.computer.xpilot. Since 1991, several annual team tournaments, known as "Cups", have been held. After the first HTML and image-rendering web browsers were introduced, members of the community developed the game's online documentation.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: XPilot


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Deathmatch (video games)

Deathmatch, also known as free-for-all, is a gameplay mode integrated into many shooter games, including first-person shooter (FPS), and real-time strategy (RTS) video games, where the goal is to kill (or "frag") the other players' characters as many times as possible. The deathmatch may end on a frag limit or a time limit, and the winner is the player that accumulated the greatest number of frags.

The deathmatch is an evolution of competitive multiplayer modes found in game genres such as fighting games and racing games moving into other genres.

Gameplay
In a typical first-person shooter (FPS) deathmatch session, players connect individual computers together via a computer network in a peer-to-peer model or a client–server model, either locally or over the Internet. Players often have the option to communicate with each other during the game by using microphones and speakers.

Deathmatches have different rules and goals depending on the game, but an example of a typical FPS-deathmatch session is where every player is versus every other player. The game begins with each player being "spawned" (starting) at random locations—picked from a fixed predefined set. Being spawned entails having the score, health, armor and equipment reset to default values which usually is 0 score, full (100%) health, no armour and a basic firearm and a melee weapon. After a session has commenced, arbitrary players may join and leave the game on an ad hoc basis.

Players
In this context a player is a human operated character in the game or a character operated by a computer software AI—a bot (see Reaper bot for example). Both the human and computer operated character do have the same basic visual appearance but will in most modern games be able to select a skin which is an arbitrary graphics model but that operates on the same set of movements as the base model. A human player's character and computer bot's character features the same set of physical properties, initial health, initial armour, weapon capabilities, the same available character maneuvers and speed—i.e. they are equally matched except for the actual controlling part. For a novice player the difference (i.e. experience, not taking into account the actual skill) between a human opponent and a computer controlled opponent may be near nil, however for a skilled player the lack of human intelligence is usually easily noticed in most bot implementations; regardless of the actual skill of the bot—which lack of intelligence can be at least somewhat compensated for in terms of e.g. extreme (superhuman) accuracy and aim. However, some systems deliberately inform the player when inspecting the score list which player(s) are bots and which are human (e.g. OpenArena). In the event that the player is aware of the nature of the opponent it will affect the cognitive process of the player regardless of the player's skill.

Modern implementations allow for new players to join after the game has started, the maximum number of players that can join is arbitrary for each game, map and rules and can be selected by the server. Some maps are suitable for small numbers of players, some are suitable for larger numbers.

Deaths
The goal for each player is killing the other players by any means possible which counts as a frag, either by direct assault or manipulating the map, the latter counts as a frag in some games, some not; in either case—to attain the highest score—this process should be repeated as many times as possible, with each iteration performed as quickly as possible. The session may have a time limit, a frag limit, or no limit at all. If there is a limit then the player with the most frags will eventually win when the session ends.

The health variable will determine if a player is wounded; however, a wounded player does not entail reduced mobility or functionality in most games, and in most games a player will not bleed to death. A player will die when the health value reaches equal to or less than 0, if the value is reduced to a very low negative value, the result may be gibbing depending upon the game.

In most games, when a player dies (i.e. is fragged), the player will lose all equipment gained and the screen will continue to display the visible (still animated) scene that the player normally sees, and the score list is usually displayed—the frags. The display does not go black when the player dies. Usually the player can choose to instantly respawn or remain dead.

The armor variable affects the health variable by reducing the damage taken, the reduction in health is in concept inversely proportional to the value of the armor times the actual damage caused; with the obvious differences in various implementations. Some games may account for the location of the body injured when the damage is deduced, while many—especially older implementations—do not. In most games, no amount of armor causes any reduced mobility—i.e. is never experienced as a weight issue by the player.

The lost equipment (usually not including the armor) of a dead player can usually be picked up by any player (even the fragged player, respawned) who gets to it first.

Simulation
Newtonian physics are often only somewhat accurately simulated, common in many games is the ability of the player to modify the player's own vector to some degree while airborne, e.g. by retarding a forward airborne flight by moving backwards, or even jumping around a corner. Other notable concepts derived from the physics of FPS game engines are i.a. at least bunny-hopping, strafe-jumping and rocket-jumping—in all of which the player exploits the particular characteristics of the physics engine in question to obtain a high speed and/or height, or other attribute(s); e.g. with rocket-jumping the player will jump and fire at rocket at the floor area immediately under the feet of the same player, which will cause the player to jump higher compared to a regular jump as a result of the rocket blast (at the obvious expense of the health variable being somewhat reduced from self-inflicted injury). The types of techniques available and how the techniques may be performed by the player differs from the physics implementation as is as such also game dependent.

Most modern deathmatch games features a high level of graphic violence; a normal modern implementation will contain high quality human characters being killed, e.g. moderate amounts of blood, screams of pain and death, exploding bodies with associated gibs are common. Some games feature a way to disable and/or reduce the level of gore. However, the setting of the game is usually that of a fictional world, the player may resurrect in the form of mentioned respawning and the characters will usually have superhuman abilities, e.g. able to tolerate numerous point blank hits from a machine gun directly to the head without any armour, jumping extreme inhuman distances and falling extreme distances to mention a few things. These factors together may make the player experience the game less real as the game contains highly unreal and unrealistic elements.

Powerups
All normal maps will contain various power-ups; i.e. extra health, armor, ammunition and other (more powerful than default) weapons. Once collected by a player the power-up will respawn after a defined time at the same location, the time for an item to respawn depends upon the game mode and the type of the item. In some deathmatch modes power-ups will not respawn at all.

Certain power-ups are especially powerful, which can often lead to the game rotating around controlling power-ups—i.e. all other things being equal, the player who controls the strongest power-ups (collecting the items most often) is the one that will have the best potential for making the best score.

Sessions
If the session does have a frag or time limit a new session will start briefly after the current session has been concluded, during the respite the players will be allowed to observe the score list, chat and will usually see an animated pseudo overview display of the map as background for the score list. Some games have a system to allow each player to announce they are now ready to begin the new session, some do not. The new sessions might be on a different map—based on a map list kept on the server—or it might always be on the same map if there is no such rotating map list.

Common in many games is some form of message broadcast and private message system; the broadcast message system announces public events, e.g. if a player died it will often be informed who died and how, if fragged, then often by what weapon; the same system will also often announce if a player joins or leaves the game, and may announce how many frags are left in total and other important messages, including errors or warnings from the game; instant text messages from other players are also displayed with this system. The private message system, in contrast, only prints messages for individual players, e.g. if player A picks up a weapon, player A will get a message to confirm that the weapon was picked up.

History
Even before the term deathmatch was first used, there existed games with a similar gameplay mode. MIDI Maze was a multiplayer first-person shooter for the Atari ST, released in 1987, which has been suggested as the first example of deathmatch gameplay. Sega's 1988 third-person shooter arcade game Last Survivor featured eight-player deathmatch. Another early example of a deathmatch mode in a first-person shooter was Taito's 1992 video game Gun Buster. It allowed two-player cooperative gameplay for the mission mode, and featured an early deathmatch mode, where either two players could compete against each other or up to four players could compete in a team deathmatch, consisting of two teams with two players each competing against each other.

The phrase death match was originally used in wrestling, starting in the 1950s, to denote certain brutal hardcore wrestling fights. The term "death match" in this sense appeared in the 1992 fighting arcade game World Heroes, where it denotes a game mode taking place in an arena with environmental hazards.

The term deathmatch in the context of multiplayer video games may have been coined by game designer John Romero, while he and lead programmer John Carmack were developing the LAN multiplayer mode for the video game Doom. Romero commented on the birth of the FPS deathmatch:
 * "Sure, it was fun to shoot monsters, but ultimately these were soulless creatures controlled by a computer. Now gamers could play against spontaneous human beings—opponents who could think and strategize and scream. We can kill each other!' If we can get this done, this is going to be the fucking coolest game that the planet Earth has ever fucking seen in its entire history!'"

According to Romero, the deathmatch concept was inspired by fighting games. At id Software, the team frequently played Street Fighter II, Fatal Fury and Art of Fighting during breaks, while developing elaborate rules involving trash-talk and smashing furniture or tech. Romero stated that "what we were doing was something that invented deathmatch" and that "Japanese fighting games fueled the creative impulse to create deathmatch in our shooters."

Some games give a different name to these types of matches, while still using the same underlying concept. For example, in Perfect Dark, the name "Combat" is used and in Halo, deathmatch is known as "Slayer".

Precursors
It has been suggested that in 1983, Drew Major and Kyle Powell probably played the world's first deathmatch with Snipes, a text-mode game that was later credited with being the inspiration behind Novell NetWare, although multiplayer games spread across multiple screens predate that title by at least 9 years in the form of Spasim and Maze War.

Early evidence of the term's application to graphical video games exists. On August 6, 1982, Intellivision game developers Russ Haft and Steve Montero challenged each other to a game of Bi-Planes, a 1981 Intellivision release in which multiple players control fighter planes with the primary purpose of repeatedly killing each other until a limit is reached. Once killed, a player would be respawned in a fixed location, enjoying a short period of protection from attacks. The contest was referred to, at that time, as a deathmatch.

Variations
In a team deathmatch, the players are organized into two or more teams, with each team having its own frag count. Friendly fire may or may not cause damage, depending on the game and the rules used — if it does, players that kill a teammate (called a team kill) usually decrease their own score and the team's score by one point; in certain games, they may also themselves be killed as punishment, and/or may be removed from the game for repeat offenses. The team with the highest frag-count at the end wins.

In a last man standing deathmatch (or a battle royale game), players start with a certain number of lives (or just one, in the case of battle royale games), and lose these as they die. Players who run out of lives are eliminated for the rest of the match, and the winner is the last and only player with at least one life. See the "Fundamental changes" section in the "Last Man Standing" article for more insight.

Any arbitrary multiplayer game with the goal for each player to kill every other player(s) as many times as possible can be considered to be a form of deathmatch. In real time strategy games, deathmatch can refer to a game mode where all players begin their empires with large amounts of resources. This saves them the time of accumulation and lets hostilities commence much faster and with greater force. Destroying all the enemies is the only way to win, while in other modes some other victory conditions may be used (king of the hill, building a wonder...)

Doom
The first-person shooter version of deathmatch, originating in Doom by id Software, had a set of unmodifiable rules concerning weapons, equipment and scoring, known as "Deathmatch 1.0".

Within months, these rules were modified into "Deathmatch 2.0" rules (included in Doom v1.2 patch). These rules were optional, the administrator of the game could decide on using DM 1.0 or DM 2.0 rules.
 * Items do not respawn, e.g. health, armour, ammunition; however weapons had a fixed status as available to any arbitrary player except the player who acquired the weapon — i.e. the weapon did not in fact disappear as items do when picked up. The player who acquires the weapon can only collect it anew after respawning (this sometimes leads to lack of ammunition if a player survives long enough, eventually leading to one's death due to being unable to fight back)
 * Suicide (such as falling into lava or causing an explosion too close to the player, or getting crushed by a crushing ceiling etc.) did not entail negative score points.

The changes were:

 * Picking up an object removes it from the map.
 * Objects re-appear 30 seconds after being picked up and can be picked up by anyone; bonus objects which provide significant advantages (invisibility power-up etc.) re-appear after much longer delay, some of them may not reappear at all.
 * Suicide counts as −1 frag.

Notable power-ups that are featured in most consecutive games include the soul spheres. Although the name and/or graphics may be different in other games the concept and feature of the power-up remains the same in other games.

Corridor 7: Alien Invasion CD version
Corridor 7: Alien Invasion released by Capstone Software in 1994.
 * The first FPS to include multiple character classes.
 * The first FPS to include DM specific maps.

Rise of the Triad
Rise of the Triad was first released as shareware in 1994 by Apogee Software, Ltd. and honed an expansive multiplayer mode that pioneered a variety of deathmatch features.

 * It introduced the Capture the Flag mode to the first-person-shooter genre as Capture the Triad.
 * It was the first FPS to have an in-game scoreboard.
 * It was the first FPS to deliver its level of multiplayer customization through a plethora of options affecting aspects of the level played like gravity or weapon persistence.
 * It was the first FPS to have voice macros and the ability to talk to players via microphone.
 * It introduced a unique point system that awards different numbers of points for different kills (for instance, a missile kill is worth a point more than a bullet kill).

Hexen: Beyond Heretic
Hexen: Beyond Heretic released by Raven Software in 1995.
 * The first to feature multiple character classes with their own weapons; some items also functioned differently based on the class using them.

Quake

 * Quake released in 1996 by ID Software, was the first FPS deathmatch game to feature in-game joining.
 * Quake was the first FPS deathmatch game to feature AI operated deathmatch players (bots), although not as a feature of the released product, but rather in the form of a community created content.
 * Quake popularized rocket-jumping''.

Notable power-ups that are featured in most consecutive games are i.a. the quad damage. Although the name and/or graphics may be different in other games the concept and feature of the power-up remains the same in other games.

Unreal
With the game Unreal (1998, by Epic), the rules were enhanced with some widely accepted improvements:

 * spawn protection (usually 2–4 seconds), which is a period of invulnerability after a player (re)enters combat (such as after being killed and respawning); spawn protection was automatically terminated when the player used a weapon (including non-attack usage, such as zooming the sniper rifle). Spawn protection prevents "easy frags" — killing a player which just spawned and is slightly disoriented and almost unarmed.
 * "suicide-cause tracking" – if a player dies by "suicide" that was caused by some other player's action, such as knocking him off the cliff or triggering a crusher or gas chamber, the player that caused such death is credited the kill and the killed player does not lose a frag (it's not counted as a suicide). This concept increases the entertainment potential of the game (as it gives players options to be "cunning"), but it at the same time adds complexity, which may be the reason why Epic's main competitor, Id software, did not implement this concept into Quake III Arena (just as they did not implement spawn protection).

Unreal Tournament

 * "combat achievements tracking" – Unreal Tournament (1999, by Epic) added statistics tracking. The range of statistics being tracked is very wide, such as:
 * precision of fire with each weapon (percentage of hits to fired ammunition)
 * kills with each weapon, being killed by particular weapon, and being killed when holding particular weapon.
 * headshots (lethal hits of combatant heads with sniper rifles and some other powerful weapons)
 * killing sprees: Killing 5, 10, 15, 20 or 25 combatants without dying is called a killing spree, each greater kill count being considered more valuable and having a unique title (respectively; Killing Spree, Rampage, Dominating, Unstoppable, Godlike). The game tracked how many times has the player achieved each of these titles.
 * consecutive kills: when a player kills a combatant within 5 seconds after a previous kill, a consecutive kill occurs. The timer starts ticking anew, allowing a third kill, a fourth kill etc. Alternatively, killing several enemies with a mega weapon (such as the Redeemer, which resembles a nuclear rocket) also counts as consecutive kill. The titles of these kills are: Double Kill (2), Multi kill (3), Ultra kill (4), Megakill (5), MONSTERKILL (6; 5 in the original Unreal Tournament). For comparison, id Software's "Quake III Arena" tracks double kills, but a third kill soon after results in another double kill award.

Quake III Arena
This game's approach to combat achievements tracking is different from Unreal Tournament. In deathmatch, the player might be rewarded with awards for the following tricks:

 * "perfect!" – winning a round of deathmatch without getting killed
 * "impressive!" – hitting with two consecutive shots or hitting two enemies with one shot from the railgun (a powerful, long-range hitscan weapon with a slow rate of fire)
 * "humiliation!" – killing an opponent with the melee razor-like gauntlet (the killed player hears the announcement too, but the fact of being humiliated is not tracked for him).
 * "accuracy" – having over 50% of hits-to-shots ratio.

Last Man Standing
The Last Man Standing (LMS) version of deathmatch is fundamentally different from deathmatch. In deathmatch, it does not matter how many times the player dies, only how many times the player kills. In LMS, it is the exact opposite — the important task is "not to die". Because of this, two activities that are not specifically addressed in deathmatch have to be controlled in LMS.

 * "Camping", which is a recognized expression for staying in one location (usually somewhat protected or with only one access route) and eventually using long range weapons, such as a sniper rifle, from that location. In standard deathmatch, campers usually accumulate fewer frags than players who actively search for enemies, because close range combat usually generates frags faster than sniping from afar. In LMS, however, camping increases the average lifespan. Unreal Tournament 2003 addresses this unfairness by indicating players who are camping and providing other players with navigation to campers.
 * "Staying dead" – after dying, player representations lie on the ground (where applicable) and are shown the results of the game in progress. They have to perform some action, usually click the "Fire" key or button, to respawn and reenter combat. This principle prevents players who might have been forced by real world situations (be it a sudden cough or a door ring) to leave the computer from dying over and over. In standard deathmatch, a player who stays dead is not a problem, as the goal is to score the most frags, not die the least times. In LMS, however, a player that would be allowed to stay dead after being killed for the first time might wait through most of the fight and respawn when there's only one opponent remaining. Because of this, Unreal Tournament 2003 automatically respawns a player immediately after being killed.

title: Deathmatch (video games)


text:
Tiraspol

Tiraspol (Moldovan Cyrillic: Тираспол; Тирасполь, ) is the capital and largest city of Transnistria, a breakaway state of Moldova, where it is the third-largest city. The city is located on the eastern bank of the Dniester River. Tiraspol is a regional hub of culture, economy, tourism, and light industry, such as furniture and electrical goods production.

The modern city of Tiraspol was founded by the Russian generalissimo Alexander Suvorov in 1792, although the area had been inhabited for thousands of years by varying ethnic groups. The city celebrates its anniversary every year on 14 October.

Etymology
The toponym consists of two ancient Greek words: Τύρας, Tyras, the Ancient name for the Dniester River, and polis, i.e., a city (state).

Classical history
Tyras (Τύρας), also spelled Tiras, was a colony of the Greek city Miletus, probably founded about 600 BCE, situated some 10 km from the mouth of the Tiras River (Dniester). Of no great importance in early times, in the second century BC it fell under the dominion of indigenous kings whose names appear on its coins. It was destroyed by the Thracian Getae about 50 BC.

In 56 AD, the Romans restored the city and made it part of the colonial province of Lower Moesia. A series of its coins exist that feature heads of Roman emperors from Domitian to Severus Alexander. Soon after the time of the latter, the city was destroyed again, this time by the invasion of the Goths. Its government was in the hands of five archons, a senate, a popular assembly, and a registrar. The images on its coins from this period suggest a trade in wheat, wine, and fish. The few inscriptions extant are mostly concerned with trade.

Such ancient archeological remains are scanty, as the city site was built over by the great medieval fortress of Monocastro or Akkerman. During the Middle Ages, the area around Tiraspol was a buffer zone between the Tatars and the Moldavians, and inhabited by both ethnic groups.

Russian foundation
The Russian Empire conquered its way to the Dniester River, taking territory from the Ottoman Empire. In 1792 the Russian army built fortifications to guard the western border near a Moldavian village named Sucleia. Field Marshal Alexander Suvorov is considered the founder of modern Tiraspol; his statue is the city's most distinctive landmark. The city took its name from Tyras, the Greek name of the Dniester River on which it stands.

In 1828, the Russian government established a customs house in Tiraspol to try to suppress smuggling. The customs house was subordinated to the chief of the Odesa customs region. It began operations with 14 employees. They inspected shipments of bread, paper, oil, wine, sugar, fruits and other goods.

Soviet Tiraspol
After the Russian Revolution, the Moldavian Autonomous Soviet Socialist Republic was created in Ukraine in 1924, with Balta as its capital. The republic had Romanian, Ukrainian and Russian as its official languages. Its capital was moved in 1929 to Tiraspol, which remained the capital of the Moldavian ASSR until 1940.

In 1940, following the secret provisions of the Molotov–Ribbentrop Pact, the USSR forced Romania to cede Bessarabia. It integrated Tiraspol, until then part of the Moldavian ASSR, into the newly formed Moldavian SSR. On 7 August 1941, following the Axis invasion of the Soviet Union, the city was taken over by Romanian troops. Later that month, on 19 August, the Tiraspol Agreement establishing the Transnistria Governorate was signed. During the occupation, Tiraspol was under Romanian administration. During that period almost all of its Jewish population died: they were slain in situ or deported to German Nazi death camps, and killed there.

In 1941, before the occupation, the newspaper Dnestrovskaya Pravda was founded by the Tiraspol City Council of popular deputies. This is the oldest periodical publication in the region. On 12 April 1944, the city was retaken by the Red Army and became again part of the Moldavian SSR.

Post-independence
On 27 January 1990, the citizens in Tiraspol passed a referendum declaring the city as an independent territory. The nearby city of Bendery also declared its independence from Moldova. As the Russian-speaking independence movement gained momentum, some local governments banded together to resist pressure from the Moldovan government for nationalization.

On 2 September 1990, Tiraspol was proclaimed the capital of the new Pridnestrovian Moldavian Soviet Socialist Republic. The new republic was not officially recognized by Soviet authorities; however, it received support from some important Soviet leaders, such as Anatoly Lukyanov. After the dissolution of the Soviet Union, the territory east of the Dniester River declared independence as the Pridnestrovian Moldavian Republic (PMR), with Tiraspol as its capital. It was not recognized by the international community.

On 1 July 2005, the Lucian Blaga Lyceum, a high school with Romanian as its language of instruction, was registered as a Transnistrian non-governmental establishment. The registration of six Romanian language schools has been the subject of negotiations with the government since 2000. The tension increased in the summer of 2004, when the Transnistrian authorities forcibly closed the schools that taught using the Latin script. According to the official PMR view, this is considered as Romanian. "Moldovan", written in the Cyrillic script, is one of the three official languages in the PMR; Romanian is not. Some economic measures and counter-measures were taken on both banks of the Dniester.

Tensions have been seen in terrorist incidents. On 6 July 2006, an explosion, believed to be caused by a bomb, killed at least eight people in a minibus. Later on 13 August, a grenade exploded in a trolleybus, killing two and injuring ten.

On 25 April 2022, during the Russian invasion of Ukraine, several explosions were reported near the Ministry of State Security (Transnistria) in Tiraspol. Firefighters were on the scene but there were no casualties.

On 17 March 2024, Transnistrian official press released a video allegedly showing a Mil Mi-8 helicopter in poor condition and likely not in use, not having been moved in over 13 years at the moment of the explosion, in a military unit in Tiraspol being attacked and destroyed by a kamikaze drone. No victims were reported. Transnistria claimed the drone had been launched from Ukraine from the direction of Odesa, more precisely from a bridge located 5–6 km from the nearest border crossing between Transnistria and Ukraine. Ukraine immediately denied having anything to do with the incident. On the day of the incident, the Bureau for Reintegration of the Republic of Moldova called it an "attempt to provoke panic and fear in the region". Later, on 25 March, the bureau confirmed the explosion of the helicopter was not caused by a drone attack but by "other factors" and that the video contained "obvious elements of video montage". In the video, the drone disappears shortly before the explosion below the helicopter occurs. Reportedly, explosives placed under the helicopter were detonated remotely instead.

Geography and climate
Tiraspol features a humid continental climate that closely borders an oceanic climate and has transitional features of the humid subtropical climate due to its warm summers. Summers are mild, with average monthly temperatures at around 21 °C in July and August. Winters are cold, with average temperatures in the coldest month (January) at -2.7 °C. Precipitation is relatively evenly spread throughout the year, though there is a noticeable increase in monthly precipitation in June and July. Tiraspol on average sees nearly 500 mm of precipitation per year.

Population
The population of the city was about 190,000 in 1989 and about 203,000 in 1992. 41% were Russians, 32% Ukrainians (both Eastern Slavic) and 18% were Moldovans (Romanians).

As result of the political and economic situation that followed the proclamation of the independent (unrecognized) Transnistria, as well as large Jewish emigration in the early 1990s, the population of the city fell below its 1989 number and the 2004 Transnistrian census put its population at 158,069. In 1897, 31,616 people lived in the city of Tiraspol, who were classified, by language, in the following way:

In 1926, 29,700 people lived in the city of Tiraspol who were classified, by ethnicity, as follows:

According to the Soviet census of 1939, the city's population was 43,676 inhabitants, distributed as follows:

 * 2004

Religion
The Latin Catholic minority was served by its own Roman Catholic Diocese of Tiraspol (originally called Cherson), which at times also covered part of neighbouring Romania and Russia, until its 2002 suppression and merger into the Russian Diocese of Saint Clement at Saratov.

Culture
The statue of Alexander Suvorov was erected in the central square in 1979 in commemoration of his 250th anniversary. In front of the Transnistrian Government building there is a statue of Vladimir Lenin. On the opposite side of the central square, a monument plaza features a Soviet T-34 tank, commemorating the Soviet victory in World War II, an eternal flame to those who fell defending the city in 1941 and liberating it in 1944, as well as several monuments dedicated to more recent conflicts, including the Soviet–Afghan War and the War of Transnistria.

Sport
The two main football clubs are Sheriff Tiraspol and FC Tiraspol. Sheriff is the most successful Moldovan football club of recent history, winning 14 league titles since the 2000–2001 season, and 6 Moldovan Cups. The team gained world notoriety for their last-minute 2–1 victory during the 2021–22 UEFA Champions League edition against later tournament winners Real Madrid on 28 September 2021. A third club, CS Tiligul-Tiras Tiraspol, withdrew from competition prior to the 2009–2010 season. Tiraspol is home to the Sheriff Stadium, the largest capacity stadium in the region, with a capacity of 14,300 seats.

Twin towns – sister cities

 * 🇲🇩 Bălți, Moldova
 * 🇲🇩 Comrat, Moldova
 * 🇳🇴 Trondheim, Norway (2000)
 * 🇷🇺 Volgograd, Russia
 * 🇷🇺 Kaluga, Russia
 * 🇷🇺 Kursk, Russia
 * 🇷🇺 Obninsk, Russia
 * 🇷🇺 Severodvinsk, Russia
 * 🇷🇺 Novosibirsk, Russia
 * 🇺🇦 Mykolaiv, Ukraine
 * 🇺🇦 Kherson, Ukraine
 * 🇺🇦 Cherkasy, Ukraine
 * 🇺🇦 Ternopil, Ukraine
 * 🇮🇱 Ashdod, Israel
 * 🇧🇾 Leninsky District, Minsk, Belarus
 * Sukhumi, Abkhazia
 * Tskhinvali, South Ossetia
 * 🇵🇹 Santarem, Portugal

Notable people

 * Nikolay Zelinsky (1861 in Tiraspol – 1953 in Moscow) Russian and Soviet chemist, academician of the Academy of Sciences, invented the first filtering activated charcoal gas mask
 * Georgi Stamatov (1869 in Tiraspol – 1942 in Sofia) a Bulgarian writer.
 * Mikhail Larionov (1881 in Tiraspol – 1964) an avant-garde Russian painter.
 * Abraham Rabinovitch (1889 in Tiraspol – 1964 in New South Wales) an Australian-Russian property developer and pioneer of the Sydney Modern Orthodox Jewish community; emigrated to Australia in 1915
 * Gheorghe Pintilie (born 1902 in Tiraspol – 1985) Soviet intelligence agent, Russian citizen and naturalised Romanian communist activist of Ukrainian origin, the first Director of the Securitate
 * Izrail Shmurun (1912 in Tiraspol – 1985 in Chișinău) a Moldavian Soviet architect
 * Larisa Eryomina (born 1950 in Tiraspol) stage and screen actress in Soviet films of the 1970s.
 * Oxana Ionova (born 1966 in Tiraspol) head of the state tax service of Transnistria, director of Transnistria's central bank from 2008 to 2011; subsequently charged with embezzlement of Russian humanitarian aid, illegal business practices, abuse of power and forgery.
 * Vlad Stashevsky (born 1974 in Tiraspol) a Russian pop singer.
 * Berenika Glixman (born 1984 in Tiraspol) Israeli classical pianist
 * Sergey Stepanov (born 1984 in Tiraspol) musician and composer from Transnistria, member of the SunStroke Project
 * Valeria Lukyanova (born 1985 in Tiraspol) a Ukrainian model and entertainer, famous for her resemblance to a Barbie doll, lives in Moscow.

Politics

 * Serhiy Kivalov (born 1954 in Tiraspol) Ukrainian politician, jurist, parliamentarian, head of Central Election Commission
 * Vladimir Mikhailovich Belyaev (born 18 March 1965 in Tiraspol) the minister of information and telecommunications
 * Maya Parnas (born 1974 in Tiraspol) politician and was the former acting Prime Minister of Transnistria
 * Nina Shtanski (born 1977 in Tiraspol) former Transnistrian state politician, the Minister of Foreign Affairs 2012 to 2015
 * Roman Khudyakov (born 1977 in Tiraspol) a Transnistrian-born Russian politician, chairman of the Liberal Democratic Party of Transnistria
 * Vladimir Yastrebchak (born 1979 in Tiraspol) the Minister of Foreign Affairs of Transnistria from 2008 to 2012.
 * Olga Paterova (born in 1984 in Tiraspol) a politician, the press secretary for the political youth organization Breakthrough
 * Yury Cheban, Transnistrian Minister of Natural Resources and Ecological Control

Sport

 * Constantin Nour (1906 or 1907 in Tiraspol – 1986) a Romanian champion middleweight boxer and national team trainer
 * Larisa Popova (born 1957 in Tiraspol) Moldovan rower who competed for the Soviet Union in the 1976 Summer Olympics
 * Igor Samoilenco (born 1977 in Tiraspol) retired male boxer from Moldova
 * Andrei Mihailov (born 1980 in Tiraspol) former backstroke swimmer, competed in the 2000 and the 2004 Summer Olympics
 * Andrei Corneencov (born 1982 in Tiraspol) former Moldovan international footballer.
 * Stanislau Tsivonchyk (born 1985 in Tiraspol) a Belarusian pole vaulter, competed in the pole vault at the 2012 Summer Olympics
 * Vitalie Bulat (born 1987 in Tiraspol) Moldovan footballer
 * Oleksandr Kolchenko (born 1988 in Tiraspol) a Ukrainian basketball player for Cherkaski Mavpy and the Ukraine national team
 * Dănilă Artiomov (born 1994 in Tiraspol) a Moldovan breaststroke swimmer
 * Artur Dalaloyan (born 1996 in Tiraspol) a Russian artistic gymnast of Armenian origin

Non-Transnistrian links

 * Tyraspol (Tiraspol) in the Geographical Dictionary of the Kingdom of Poland (1892)
 * Tyraspol (Tiraspol) in the Geographical Dictionary of the Kingdom of Poland (1892)

Transnistrian links

 * Tiraspol.info

title: Tiraspol


text:
Lutheran chorale

A Lutheran chorale is a musical setting of a Lutheran hymn, intended to be sung by a congregation in a German Protestant Church service. The typical four-part setting of a chorale, in which the sopranos (and the congregation) sing the melody along with three lower voices, is known as a chorale harmonization.

Lutheran hymns
Starting in 1523, Martin Luther began translating worship texts into German from the Latin. He composed melodies for some hymns himself, such as "Ein feste Burg ist unser Gott" ("A Mighty Fortress Is Our God"), and even a few harmonized settings. For other hymns he adapted Gregorian chant melodies used in Catholic worship to fit new German texts, sometimes using the same melody more than once. For example, he fitted the melody of the hymn "Veni redemptor gentium" to three different texts, "Verleih uns Frieden gnädiglich", "Erhalt uns, Herr, bei deinem Wort", and "Nun komm, der Heiden Heiland". The first Lutheran hymns were published in 1524. These included the Achtliederbuch (known as the first Lutheran hymnal) and the Erfurt Enchiridion (both with unaccompanied melodic settings), as well as Johann Walter's Eyn geystlich Gesangk Buchleyn, the first to contain part song settings of Lutheran hymns.

Luther and his contemporaries referred to these vernacular hymns as geistliche Lieder (spiritual songs), Psalmen (psalms), christliche Lieder (Christian songs), and geistliche (or christliche) Gesänge or Kirchengesänge. The German word Choral, which was originally used to describe Latin plainchant melodies, was first applied to the Lutheran hymn only in the later sixteenth century.

In the modern era, many Lutheran hymns are used in Protestant worship, sometimes sung in four-part harmony.

Composers
Composers of tunes for Lutheran hymns, or who adopted such tunes in their compositions:
 * Martin Luther (1483–1546)
 * Johann Walter (1496–1570)
 * Sebald Heyden (1499–1561)
 * Nikolaus Herman (c. 1500–1561)
 * Johannes Hermann (1515–1593)
 * Nikolaus Selnecker (1530–1592)
 * Cyriakus Schneegass (1546–1597)
 * Joachim a Burck (1546–1610)
 * Philipp Nicolai (1556–1608)
 * Bartholomäus Gesius (c. 1562–1613)
 * Michael Praetorius (1571–1621)
 * Melchior Franck (c. 1579–1639)
 * Melchior Teschner (1584–1635)
 * Michael Altenburg (1584–1640)
 * Heinrich Schütz (1585–1672)
 * Johann Hermann Schein (1586–1630)
 * Samuel Scheidt (1587–1654)
 * Johann Schop (c. 1590–1667)
 * Heinrich Scheidemann (c. 1595–1663)
 * Johann Crüger (1598–1662)
 * Andreas Hammerschmidt (1611/1612–1675)
 * Dieterich Buxtehude (c. 1638–1707)
 * Gottfried Vopelius (1645–1715)
 * Johann Pachelbel (1653–1706)
 * Johann Sebastian Bach (1685–1750) harmonised hundreds of chorales, typically used at the end of his cantatas and concluding scenes in his Passions. In his St Matthew Passion, he set five stanzas of "O Haupt voll Blut und Wunden" in four different ways. He also used hymns as the base for his cycle of chorale cantatas and chorale preludes. Bach concentrated on the chorales especially in the Chorale cantatas of his second annual cycle, composed mostly in 1724/25.
 * Felix Mendelssohn (1809–1847)
 * Anton Bruckner (1824–1896).
 * Johannes Brahms (1833–1897)
 * Max Reger (1873–1916)
 * Sigfrid Karg-Elert (1877–1933)
 * Igor Stravinsky (1882–1971)
 * Ernst Pepping (1901–1981)
 * Hugo Distler (1908–1942)
 * Sofia Gubaidulina (b. 1931)
 * George C. Baker (b. 1951)

Organ
Chorales also appear in chorale preludes, pieces generally for organ originally designed to be played immediately before the congregational singing of the hymn, but developed into an autonomous genre by north-German composers of the middle and late 17th century, particularly Dieterich Buxtehude. A chorale prelude includes the melody of the chorale, and adds contrapuntal lines. One of the first composers to write chorale preludes was Samuel Scheidt. Bach's many chorale preludes are the best-known examples of the form. Later composers of the chorale prelude include Johannes Brahms, for example in his Eleven Chorale Preludes, and Max Reger who composed many examples, including Wie schön leucht' uns der Morgenstern (based on the hymn by Philipp Nicolai). In the 20th century, important contributions to the genre were made by Hugo Distler and Ernst Pepping.

Other instrumental

 * Sofia Gubaidulina – Meditation über den Bach-Choral "Vor deinen Thron tret' ich hiermit", for harpsichord, two violins, viola, cello, and contrabass (1993)

Scholarship
Scholarship regarding Lutheran chorales intensified from the 19th century.

Carl von Winterfeld
The musicologist Carl von Winterfeld published three volumes of Der evangelische Kirchengesang und sein Verhältniss zur Kunst des Tonsatzes (Evangelical church-song and its relation to the art of composition) from 1843 to 1847.

Zahn's classification of chorale tunes
Johannes Zahn published Die Melodien der deutschen evangelischen Kirchenlieder (the tunes of the German Evangelical hymns) in six volumes from 1889 to 1893.

title: Lutheran chorale


text:
Talk:UNRWA

Italy restores UNWRA funding
https://www.ansa.it/sito/notizie/mondo/2024/05/25/tajani-litalia-riparte-con-i-finanziamenti-allunrwa_a96697db-8037-4192-8d93-1a539fd4f67c.html

Funding pauses
New Zealand didn't pause or suspend funding to UNRWA. Source: https://www.mfat.govt.nz/assets/OIA/OIA-2024/OIA-29183-Response.pdf. Also, Australia has already announced lifting its temporary funding pause (15 March). Source: https://www.foreignminister.gov.au/minister/penny-wong/media-release/funding-united-nations-relief-and-works-agency-and-additional-support-gaza Jen nia mondo (talk) 06:49, 31 March 2024 (UTC)

Also Finland (March) and Japan (April). Source: https://www.aljazeera.com/economy/2024/4/2/japan-lifts-pause-in-funding-for-unrwa-following-canada-australiaJen nia mondo (talk) 23:50, 4 April 2024 (UTC)

Germany has resumed funding
Germany has said it will resume funding to UNRWA. https://www.theguardian.com/world/2024/apr/24/germany-to-resume-funding-of-unrwa-aid-operations-in-gaza Watch Atlas791 (talk) 02:19, 25 April 2024 (UTC)

 * Added. Selfstudier (talk) 14:54, 25 April 2024 (UTC)

title: Talk:UNRWA


text:
Talk:IBM 360

Perhaps this should be merged with or connected to the System 360 page. --RTC

title: Talk:IBM 360


text:
Talk:IBM 370 printer

Merge?
Perhahttp://en.wikipedia.org/wiki/Wikipedia:Hatnoteps this should be merged with or connected to the System 370 page. --RTC
 * No, the 1956 printer is not related to the later mainframe system. – Wbm1058 (talk) 19:53, 17 October 2012 (UTC)

Moved
I moved (renamed) this page from IBM 370 to IBM 370 printer, and changed IBM 370 to redirect to IBM System/370, which seems less confusing. — Loadmaster (talk) 21:29, 21 December 2011 (UTC)
 * Maybe IBM 370 should be a disambiguation page, linking to both.--agr (talk) 01:42, 22 December 2011 (UTC)
 * A WP:hatnote will suffice. I just put on on IBM System/370. – Wbm1058 (talk) 19:53, 17 October 2012 (UTC)

title: Talk:IBM 370 printer


text:
Sea of Storms

Sea of Storms may refer to:

 * Sea of Storms (The Wheel of Time), a location in the Wheel of Time fantasy series by Robert Jordan
 * Oceanus Procellarum (Latin for "Ocean of Storms"), a large lunar mare on the Moon
 * A location in the video game The Settlers II

title: Sea of Storms