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Earl of Selkirk

Earl of Selkirk is a title in the Peerage of Scotland, used since 1646. It has rules of inheritance subject to unusual and unique provisions.

History
The title was created on 14 August 1646 for Lord William Douglas, third son of William Douglas, 1st Marquess of Douglas, along with the title Lord Daer and Shortcleuch. On 29 April 1656, the first earl married Anne Hamilton, 3rd Duchess of Hamilton. In 1660, after the birth of two sons, he changed his surname from Douglas to "Hamilton", and was created Duke of Hamilton for life, as was then a not uncommon practice in Scotland when a peeress in her own right married someone of lesser degree.

Second earl's surrender and novodamus
On 6 October 1688, during the reign of James VII, the new Duke of Hamilton surrendered his previous titles to the Crown (except Hamilton). They were reconferred on his third (but second surviving) son Charles, who thereby became second Earl of Selkirk, and who also reverted to his original surname of "Douglas". Thus, while the eldest son was to inherit the title of Duke of Hamilton and have his mother's maiden name for surname, the younger son was to inherit his father's dignities and perpetuate the name of Douglas.

This novodamus for this arrangement embodied a unique remainder, the effect of which was that:
 * 1) the titles would pass to the heirs male of the 1st earl's younger sons before the heirs male of his eldest son (who was heir apparent to his mother's Dukedom of Hamilton);
 * 2) if the person who would otherwise inherit the title was already duke of Hamilton (or would inherit that dukedom at the same time), the titles would pass instead to that duke's next surviving brother;
 * 3) if the titles were ever held by a duke of Hamilton (either because an earl of Selkirk succeeded as duke of Hamilton, or because provision 2 was unable to operate because the heir was a duke of Hamilton who had no surviving younger brothers), the titles would pass on that duke's death to his second surviving son;
 * 4) if the titles had passed to a younger brother or younger son under provisions 2 or 3, they would then pass to his heirs male on his death; but
 * 5) if such a younger son or younger brother's heirs male died out, the title would not pass to his own younger brothers and their heirs male, but would instead revert to the senior male line, with provisions 2 and 3 operating as before.

This remainder is so unusual that a Scottish country dance—Hamilton House—was created around it.

Third earl
The second earl died childless in 1739, and his younger brother, John Hamilton, 1st Earl of Ruglen (who had been so created on 14 April 1697), succeeded as the third earl. He outlived his son and heir, and when he died in 1744 the Earldom of Ruglen and its subsidiary titles passed to his daughter Anne Douglas, Countess of March, and on her death in 1748 to William Douglas, 3rd Earl of March (later 4th Duke of Queensberry).

Fourth, fifth and sixth earls
The earldom of Selkirk and its subsidiary title, being limited to male heirs, passed to Dunbar Hamilton, grandson of Lord Basil Hamilton, sixth son of the first earl. Upon succeeding as fourth earl, he, like the second earl, changed his surname to "Douglas".

On the fourth earl's death in 1799, he was succeeded by his only surviving son, Thomas, as fifth earl, who was then succeeded on his own death in 1820 by his only son, Dunbar, as sixth earl.

Seventh earl
On his death in 1885, the heirs male of the younger sons of the first earl expired. The heir male of the first earl's eldest son was William Douglas-Hamilton, 12th Duke of Hamilton, but under the special remainder (provision 2 above) the titles passed instead to his younger brother, Lord Charles Hamilton, who succeeded as seventh earl.

Eighth earl
When the seventh earl died unmarried in 1886, the titles reverted to his elder brother, who had no further brothers to whom they could pass, and who accordingly succeeded as eighth earl.

Ninth earl
When the eighth earl died without a son in 1895, the dukedom passed to his fourth cousin, Alfred Douglas-Hamilton, who succeeded as 13th duke of Hamilton. As he also had no brothers, he also succeeded as ninth earl of Selkirk.

Tenth earl
When the ninth earl died in 1940, his eldest son, Douglas Douglas-Hamilton, inherited the dukedom, but the earldom of Selkirk and its subsidiary title passed under the special remainder (provision 3 above) to his second son, Lord George Douglas-Hamilton, who succeeded as 10th earl.

Eleventh earl
Upon the death of the 10th earl in 1994, married but childless, the titles passed (under provision 5 above) to his nephew, Lord James Douglas-Hamilton, second son of the 14th Duke of Hamilton and next brother of Angus Douglas-Hamilton, 15th Duke of Hamilton, who succeeded as 11th earl. This succession was unsuccessfully challenged in the Court of the Lord Lyon by Alasdair Douglas-Hamilton, son of Lord Malcolm Douglas-Hamilton, next brother of the 10th Earl. Lord Malcolm had died in 1969 as heir presumptive to the 10th earl and his son was listed thereafter in that position by reference works such as Whitaker's Almanack and Debrett's but it was the ruling of the court that the death of the 14th duke in 1973 had placed the younger sons of the 14th duke ahead of the younger sons of the 13th duke and their issue in line to the earldom.

The 11th earl was, at the time of his succession, the Member of Parliament for Edinburgh West, and he disclaimed the titles in order to remain in the House of Commons. He was later elevated to the House of Lords with a life peerage as Baron Selkirk of Douglas, and served as a Member of the Scottish Parliament.

Earls of Selkirk (1646)

 * William Douglas-Hamilton, 1st Earl of Selkirk, jure uxoris 3rd Duke of Hamilton (1634–1694)
 * Charles Douglas, 2nd Earl of Selkirk (1663–1739) (son of the 1st Earl, younger brother of 4th Duke of Hamilton)
 * John Hamilton, 3rd Earl of Selkirk (1664–1744) (brother of 2nd Earl, younger brother of 4th Duke of Hamilton)
 * Dunbar Douglas, 4th Earl of Selkirk (1722–1799) (great-nephew of the 3rd Earl)
 * Thomas Douglas, 5th Earl of Selkirk (1771–1820) (son of the 4th Earl)
 * Dunbar James Douglas, 6th Earl of Selkirk (1809–1885) (son of the 5th Earl)
 * Charles George Hamilton, 7th Earl of Selkirk (1847–1886) (fourth cousin once removed of the 6th Earl, younger brother of the 12th Duke of Hamilton)
 * William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton, 8th Earl of Selkirk (1845–1895) (older brother of 7th Earl)
 * Alfred Douglas Douglas-Hamilton, 13th Duke of Hamilton, 9th Earl of Selkirk (1862–1940) (fourth cousin of the 8th Earl)
 * George Nigel Douglas-Hamilton, 10th Earl of Selkirk (1906–1994) (son of the 9th Earl, brother of the 14th Duke of Hamilton)
 * James Alexander Douglas-Hamilton, 11th Earl of Selkirk (1942–2023) (nephew of the 10th Earl, brother of the 15th Duke of Hamilton) (disclaimed 1994)
 * John Andrew Douglas-Hamilton, 12th Earl of Selkirk (b. 1978) (son of the 11th Earl)

The heir presumptive is the present earl's younger brother Charles Douglas Douglas-Hamilton (b. 1979).

Line of succession
Everyone in the line of succession to the Duke of Hamilton is eligible to succeed to the Earldom, but in the order dictated by its special remainder: the sons of Lord Selkirk of Douglas, starting with the present earl, come first (with potential male issue of any of them preceding younger brothers of that son), but should any future Earl of Selkirk die without a direct heir, the death of the 15th Duke of Hamilton in 2010 means that the younger son of the 15th Duke would rank ahead of lines from younger sons of the 14th Duke and the death of the 16th Duke would likewise move his younger sons to the head of the line.

 * Coronet of a British Duke.svg Coronet of a British Earl.svg Alfred Douglas-Hamilton, 13th Duke of Hamilton, 10th Duke of Brandon, 9th Earl of Selkirk (1862–1940)
 * Coronet of a British Duke.svg Douglas Douglas-Hamilton, 14th Duke of Hamilton, 11th Duke of Brandon (1903–1973)
 * Coronet of a British Duke.svg Angus Douglas-Hamilton, 15th Duke of Hamilton, 12th Duke of Brandon (1938–2010)
 * Coronet of a British Duke.svg Alexander Douglas-Hamilton, 16th Duke of Hamilton, 13th Duke of Brandon (b. 1978)
 * Douglas Charles Douglas-Hamilton, Marquess of Douglas and Clydesdale (b. 2012)
 * Lord William Frederick Douglas-Hamilton (b. 2014)
 * Lord Basil George Douglas-Hamilton (b. 2016)
 * (4). Lord John William Douglas-Hamilton (b. 1979)
 * Coronet of a British Earl.svg Coronet of a British Baron.svg James Alexander Douglas-Hamilton, 11th Earl of Selkirk, Baron Selkirk of Douglas (1942–2023)
 * Coronet of a British Earl.svg John Andrew Douglas-Hamilton, 12th Earl of Selkirk (b. 1978)
 * (1). Hon. Charles Douglas Douglas-Hamilton (b. 1979)
 * (2). Hon. James Robert Douglas-Hamilton (b. 1981)
 * (3). Hon. Harry Alexander Douglas-Hamilton (b. 1981)
 * Lord Hugh Malcolm Douglas-Hamilton (1946–1995)
 * Brendan Thomas Douglas-Hamilton (b. 1974)
 * Lord Patrick George Douglas-Hamilton (b. 1950)
 * Coronet of a British Earl.svg George Douglas-Hamilton, 10th Earl of Selkirk (1906–1994)
 * Lord Malcolm Avondale Douglas-Hamilton (1909–1964)
 * Alasdair Malcolm Douglas-Hamilton (b. 1939)
 * Angus Gavin Douglas-Hamilton (b. 1968)
 * William Niall Douglas-Hamilton (b. 1999)
 * Geordie Fergus Douglas-Hamilton (b. 1969)
 * Lord David Douglas-Hamilton (1912–1944)
 * Iain Douglas-Hamilton (b. 1942)

title: Earl of Selkirk


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Xine

xine is a multimedia playback engine for Unix-like operating systems released under the GNU General Public License. xine is built around a shared library (xine-lib) that supports different frontend player applications. xine uses libraries from other projects such as liba52, libmpeg2, FFmpeg, libmad, FAAD2, and Ogle. xine can also use binary Windows codecs through a wrapper, bundled as the w32codecs, for playback of some media formats that are not handled natively.

History
xine was started in 2000 by Günter Bartsch shortly after LinuxTag. At that time playing DVDs in Linux was described as a tortuous process since one had to manually create audio and video named pipes and start their separated decoder processes.

Günter realized the OMS (Open Media System) or LiViD approach had obvious shortcomings in terms of audio and video synchronization, so xine was born as an experiment trying to get it right. The project evolved into a modern media player multi-threaded architecture.

During xine development, some effort was dedicated to making a clear separation of the player engine (xine-lib) and front-end (xine-ui). Since the 1.0 release (2004-12-25) the API of xine-lib is considered stable and several applications and players rely on it.

Günter left the project in 2003 when he officially announced the new project leaders, Miguel Freitas, Michael Roitzsch, Mike Melanson, and Thibaut Mattern.

Supported media formats

 * Physical media: CDs, DVDs, Video CDs
 * Container formats: 3gp, AVI, ASF, FLV, Matroska, MOV (QuickTime), MP4, NUT, Ogg, OGM, RealMedia
 * Audio formats: AAC, AC3, ALAC, AMR, FLAC, MP3, RealAudio, Shorten, Speex, Vorbis, WMA
 * Video formats: Cinepak, DV, H.263, H.264/MPEG-4 AVC, HuffYUV, Indeo, MJPEG, MPEG-1, MPEG-2, MPEG-4 ASP, RealVideo, Sorenson, Theora, WMV (partial, including WMV1, WMV2 and WMV3; via FFmpeg)
 * Video devices: V4L, DVB, PVR
 * Network protocols: HTTP, TCP, UDP, RTP, SMB, MMS, PNM, RTSP

DVD issues
Since it is not a member of DVD Forum, the xine project is not contractually obliged to insert user operation prohibition such as disallowing fast-forward or skipping during trailers and ads. However, without membership in the Forum, the project also cannot make xine play DVDs encrypted with CSS except by using reverse-engineered code. xine therefore uses the libdvdcss library, which was created by reverse engineering. The legal status of libdvdcss is questionable in several nations; in the United States, for example, the Digital Millennium Copyright Act arguably prohibits reverse-engineering of CSS. Virtually all commercial DVDs are encrypted with CSS.

Other issues
To prevent a screensaver from starting, xine sends a scroll lock key signal to the environment to pretend keyboard interaction took place. This can often lead to issues with other programs running as they receive the scroll lock key as normal input. One example is the Konsole terminal emulator, which changes the behaviour of the arrow keys when scroll lock is used.

Graphical user interface
The xine project offers graphical front-ends for xine, including one based on Xlib and another on GTK+, along with a browser plugin. Other front-ends for xine are available from other projects.

xine backend
The shared library 'xine-lib' used and developed by xine is also used by other projects. For example, it can be used instead of GStreamer as a backend for the Phonon media framework used by KDE and Qt.

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

title: Xine


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Don McKay (poet)

Don McKay (born 1942) is a Canadian poet, editor, and educator.

Life
McKay was born in Owen Sound, Ontario and raised in Cornwall. McKay was educated at the University of Western Ontario and the University of Wales, where he earned his PhD in 1971, with a dissertation on the poetry of Dylan Thomas. He taught creative writing and English for 27 years in universities including the University of Western Ontario and the University of New Brunswick. In 2008, he was made a Member of the Order of Canada. McKay has lived in southwestern Ontario, New Brunswick, Vancouver Island and Newfoundland.

Poetic career
McKay is the author of twelve books of poetry, including Birding, or Desire (1986), Apparatus (1997) and Paradoxides (2012). He has twice won the Governor General's Award, for Night Field (1991) and Another Gravity (2000). In June 2007, he won the Griffin Poetry Prize for Strike/Slip (2006). Beginning in 2002, he has also published five books of non-fiction prose, mixing nature writing, thoughts on poetics, and philosophical and environmental reflections. Critical discourse has included him in a group of Canadian poets known as the 'thinking and singing poets,' along with Robert Bringhurst, Dennis Lee, Tim Lilburn and Jan Zwicky.

McKay, published since 1973, is described as ' a poet with a patient eye, an acute arresting ear, over flowing with details of ornithology, botany, weather, industry, books and music; nuanced descriptions, philosophical phrasing, folksy idiom. madcap humour and elegy'. Others, consider 'awe, astonishment and wonder to be the keynotes of McKay's poems and poetics' and that his prime subject matter to be 'the workings of the human mind'.

McKay has also made a wide impression as a teacher and editor. He was the co-founder and a manuscript reader for Brick Books ., one of Canada's leading poetry presses, and was editor of the literary journal The Fiddlehead from 1991 to 1996. He has participated in the Sage Hill Writing experience in Saskatchewan and was Associate Director for poetry at the Banff Centre for the Arts Writing Studio. He has mentored many fellow poets, including Ken Babstock, Marlene Cookshaw, Barbara Colebrook Peace, Michael Redhill, Anne Simpson and Sue Sinclair.

McKay is an avid birdwatcher; and bird themes and flight are dominant topics in his poetry. In Birding, or Desire (1983), the quirky protagonist is never far from his Birds of Canada hobbyist's field guide. McKay's passion for birds and nature percolates throughout all of his work, and some consider 'McKay's preferred environment is located in the natural world'. McKay himself sees his writing as "nature poetry in a time of environmental crisis." McKay's poems are ecologically centred, inspired by the conflict between inspiration and spirit, instinct and knowledge.

In his book of poetic philosophy Vis à Vis: Field Notes on Poetry & Wilderness, McKay details many of his beliefs on metaphor, wildness, and the homing instinct. In that book, his definitive 1993 essay 'Baler Twine' describes those moments 'before wrestling with words and music ', a 'state of mind ' ,a preparedness, which he labels as 'poetic attention'; and further describes as a 'sort of readiness ', a 'form of knowing'. McKay also touches on his other main poetic themes of 'Wilderness', 'Home', and 'Matériel' (material existence).

Poetry

 * Air Occupies Space (1973)
 * Long Sault (1975)
 * Lependu (1978)
 * Lightning Ball Bait (1980)
 * Birding, or Desire (1983) (nominated for a Governor General's Award)
 * Sanding Down this Rocking Chair on a Windy Night (1987)
 * Night Field (1991) (winner of the 1991 Governor General's Award for poetry)
 * Apparatus (1997) (nominated for a Governor General's Award)
 * Another Gravity (2000) (shortlisted for the 2001 Canadian Griffin Poetry Prize)
 * Varves (2003; chapbook)
 * Camber (2004) (shortlisted for the 2005 Canadian Griffin Poetry Prize)
 * Strike/Slip (2006) (winner of the 2007 Canadian Griffin Poetry Prize and the Dorothy Livesay Poetry Prize)
 * Field Marks: The Poetry of Don McKay edited by Méira Cook (2006)
 * Songs for the Songs of Birds, audiobook (2008)
 * Leaf to leaf-Foglio a foglia (Italian translation by Sara Fruner and Filippo Mariano), edited by Angelo Longo (2010)
 * Paradoxides (2012)
 * Angular Unconformity: Collected Poems 1970–2014 (2014)
 * Lurch (2021)

Other

 * Vis à Vis: Field Notes on Poetry & Wilderness (2002) (nominated for a Governor General's Award for Nonfiction)
 * Deactivated West 100 (2005)
 * The Muskwa Assemblage (2009)
 * The Shell of the Tortoise: Four Essays and an Assemblage (2012)
 * All New Animal Acts: Essays, Stretchers, Poems (2020)

title: Don McKay (poet)


text:
Cloud Strife

Cloud Strife (クラウド・ストライフ) is the protagonist of Square Enix's (previously Square's) role-playing video game Final Fantasy VII (1997), Final Fantasy VII Remake (2020), Final Fantasy VII Rebirth (2024) & the animated film Final Fantasy VII: Advent Children (2005). He acts in a supporting role in other Compilation of Final Fantasy VII titles, and is featured in several other games in the wider Final Fantasy series. He has also made guest appearances in various titles outside the franchise, such as the Kingdom Hearts series by Square Enix and Disney and the Super Smash Bros. series by Nintendo.

Cloud was designed by Tetsuya Nomura, a character artist for the Final Fantasy series, whose role expanded during the title's development to include supervision over Cloud's personality. Yoshinori Kitase, director of VII, and Kazushige Nojima, one of the game's events planners, developed the story and wanted to create a mysterious character who acted atypically for a hero. After VII, Nomura redesigned Cloud for Advent Children, giving him a more realistic appearance alongside new weaponry and a new outfit. For Remake, the team aimed to adapt his classic design for a more realistic artstyle.

Cloud has garnered primarily positive reception from critics, and has been described as one of the most iconic video game protagonists. He has also been cited favorably as an example of complex character writing in video games, as one of its first unreliable narrators and for the game's depiction of his mental disorder. Additionally, he is seen as a messiah figure in both the game and film for opposing Sephiroth's schemes and supported by his allies.

Concept
In contrast to Final Fantasy VI, which featured multiple "main characters", Square's staff decided in the beginning of Final Fantasy VII development that the game would follow a single identifiable protagonist. In Hironobu Sakaguchi's first plot treatment, a prototype for Cloud's character belonged to an organization attempting to destroy New York City's "Mako Reactors". Kitase and Nomura discussed that Cloud would be the lead of three protagonists, but Nomura did not receive character profiles or a completed scenario in advance. Left to imagine the stories behind the characters he designed, Nomura shared these details in discussions with staff or in separately penned notes. Frustrated by the continued popularity of Final Fantasy IV characters despite the release of two sequels, Nomura made it his goal to create a memorable cast. The contrast between Cloud, a "young, passionate boy", and Sephiroth, a "more mature and cool" individual, struck Amano as "intriguing", though not unusual as a pairing. When designing Cloud and Sephiroth, Nomura imagined a rivalry mirroring that of Miyamoto Musashi and Sasaki Kojirō, with Cloud and Sephiroth representing Musashi and Kojirō, respectively.

Kitase and Nojima developed Cloud's backstory and his relationship to Sephiroth. While drafting the game's scenario, Nojima saw a standing animation created by event planner Motomu Toriyama that depicted "Cloud showing off". The animation impressed Nojima and inspired the idea that Cloud had developed a false persona. This later led Nojima to create Zack Fair, a SOLDIER whom Cloud aspired to be like, to expand on the mystery of Cloud's past. Nojima left the unfolding of events regarding Cloud's identity unwritten, and Kitase was unaware of the significance of Zack's addition until playtesting. Kitase reviewed Nojima's scenario and felt that Cloud, who was neither single-minded nor righteous, offered a fresh take on a protagonist. The love triangle between Cloud, Tifa Lockhart, and Aerith Gainsborough was also viewed as novel for the series. Nojima likened Cloud and Tifa's relationship to one of friends since nursery school, and compared Aerith to a transfer student arriving mid-term.

In early scripts, Sephiroth would have deceived Cloud into thinking that he had created him, and he had the ability to exert control over Cloud's movements. As in the finished game, Cloud would discover that Shinra's experiments and his own insecurities had made him susceptible to Sephiroth's manipulation. Cloud would have also somehow injured Tifa prior to the game's events, leaving her with memory loss of the event and a large scar on her back. Kitase rejected a proposed scene written by Masato Kato involving Cloud and Tifa walking out of a Chocobo stable the morning before the final battle, with Tifa following only after checking around. Kitase found it "too intense" and Nojima described the proposal as "extreme"; however, Kitase maintained a toned-down scene written by Kato depicting the night before, which has Tifa speak a risqué line of dialogue before a fade to black. According to Nojima, none of the staff expected that the scene, despite "the line in question", "would be something so important".

Nojima wanted to write scenes in such a way that players themselves could decide what Cloud was thinking. Nojima used Cloud's foggy memories as a device to provide details about the world that would be unknown to the player but considered common knowledge to its inhabitants. To emphasize Cloud's personality, event planners repeated elements they found interesting, such as Toriyama's standing animation and Cloud's use of the phrase "not interested".

In retrospective, Nomura and Final Fantasy VII Remake co-director Naoki Hamaguchi have described Cloud as a "dorky character". According to Nomura, although post-Final Fantasy VII titles featuring Cloud have emphasized his "cool side", "in the original game, Cloud had many comical or lame moments". Nomura believes that the reason Cloud became popular with audiences is due to the impact his personality made on Nojima's scenario.

Designs
In addition to testing models ported from Square's 1995 SIGGRAPH demo, Nomura and several other artists created new characters, including an early design of Cloud. Sakaguchi, impressed with Nomura's illustrations and detailed handwritten notes for Final Fantasy V and VI, tasked him with designing Final Fantasy VII main characters.

Nomura's notes listed Cloud's job as magic swordsman (魔法剣士). Cloud's design underwent several revisions. Nomura's first draft of Cloud featured slicked-back black hair to contrast with the long silver hair of the game's primary antagonist, Sephiroth, and to minimize the model's polygon count. However, to make Cloud stand out more and emphasize his role as the game's lead protagonist, Nomura altered Cloud's design to give him spiky, bright blond hair. Nomura also made Cloud taller than he appeared in the SGI Onyx demo, while a discarded iteration drawn "more on the realistic side" depicted Cloud with a taller head and body and more muscular physique.

Yoshitaka Amano, who handled character illustrations for previous Final Fantasy titles, painted promotional images for the game by taking Nomura's "drawings and put[ting his] own spin on them". According to Amano, because of the hardware limitations of the PlayStation, the platform Square had settled on for Final Fantasy VII, characters could not be rendered realistically. Amano thought that Cloud's baggy pants, which taper at the bottom, reflected a "very ... Japanese style", resembling the silhouette of a hakama.

Early renditions of Cloud's weapon, the Buster Sword (バスターソード), depicted a smaller, thinner blade. Variations included additions such as a small chain connected to the pommel, magnets securing the blade to Cloud's back, and a more detailed design that resembled a "Western-style sword". The Buster Sword's blade grew in subsequent illustrations, and Nomura called it "the Giant Kitchen Knife", envisioning it as unrefined steel. Square's staff conceived of a minigame involving Cloud driving a motorcycle at the start of the game's development, and Nomura's illustrations included Cloud riding a "Hardy-Daytona" (ハーディ＝デイトナ), a Shinra motorcycle based on a real-life motorbike, the Yamaha VMAX.

Advent Children characterization
For Advent Children, Nomura agreed to direct the project largely because of his attachment to Cloud's character. Although Nomura stated that Cloud was a more positive character in Final Fantasy VII than in Advent Children, he did not believe that such an "'upbeat' image of him is what stuck in the minds of the fans", and the script was written to explain why Cloud returned to a state of mind "consistent with the fans' view of him". Nomura describes Cloud's life as peaceful but, hurt by the losses he experienced during the original game, one which he grew scared of losing. Blaming himself for things outside of his control, Cloud, Nomura elaborated, needed to overcome himself. In contrast to other heroes, who Nomura sees as typically possessing character defects amounting only to quirks, he believed Cloud's weakness to be humanizing.

Nojima viewed the theme of the story as one of forgiveness, which he believed required hardship; by taking up his sword and fighting, Cloud struggles to achieve it. Nojima sought to establish Cloud's withdrawn personality by depicting him as having a cell phone, but never answering any calls. He originally intended for Aerith's name to be the last one displayed in the backlog of ignored messages that appear as Cloud's cell phone sinks into the water, but altered the scene because it "sounded too creepy". The wolf which Cloud imagines "represents the deepest part of Cloud's psyche" and "appears in response to some burden that Cloud is carrying deep in his heart", vanishing at the film's end. Nomura cites one of the film's final scenes, in which Cloud smiles, as his favorite, highlighting the lack of dialogue and Cloud's embarrassment. The scene influenced composer Nobuo Uematsu's score, who grew excited after coming across it in his review of the script, commenting on the difficulty players who had finished Final Fantasy VII would have had imagining Cloud's smile.

Nomura sought to make Cloud's design distinctly different from the other characters. About thirty different designs were made for Cloud's face, and his hair was altered to give it a more realistic look and illustrate that two years had passed since the game's conclusion. The staff attempted rendering Cloud based on the game's original illustrations, but concluded that doing so left his eyes unrealistically big, which "looked gross". Further revisions were made to Cloud's face after completion of the pilot film, which featured a more realistic style. In contrast to his hair, Cloud's clothes were difficult to make in the film. After deciding to give Cloud a simple costume consistent with the concept of "clothes designed for action", the staff began with the idea of a black robe, eventually parring it down to a "long apron" shifted to one side.

Cloud's weaponry was based on the joking observation that because his sword in the original game was already enormously tall, in the sequel, he should use sheer numbers. Referred to as "The Fusion Swords" (合体剣) during the film's development, early storyboard concepts included Cloud carrying six swords on his back, although the idea was later modified to six interlocking swords. While the idea wasn't "logically thought out" and the staff did not think that they could "make it work physically", it was believed to provide "an interesting accent to the story". Cloud's new motorcycle, Fenrir (フェンリル), was designed by Takayuki Takeya, who was asked by the staff to design an upgraded version of Cloud's "Hardy-Daytona" motorcycle from Final Fantasy VII. The bike got bigger as development continued, with Takeya feeling its heaviness provided an impact that worked well within the film. In the original game, Cloud's strongest technique was the Omnislash (超究武神覇斬). For his fight against Sephiroth in the film, Nomura proposed a new move, the Omnislash Ver. 5 (超究武神覇斬ver.5), a faster version of the original Omnislash. The staff laughed at the name of Cloud's move during the making of it, as Nomura was inspired by a sports move from Final Fantasy X, whose protagonist, Tidus, explained the addition of a more specific name would make people more excited.

Themes expanded upon in the director's cut Advent Children Complete include Cloud's development with links to other Final Fantasy VII media in which he appeared. To further focus on Cloud's growth, Square decided to give him more scenes when he interacts with children. Additionally, the fight between Cloud and Sephiroth was expanded by several minutes, and includes a scene in which Sephiroth impales Cloud on his sword and holds him in the air, mirroring the scene in the game where he performs the same action. The decision to feature Cloud suffering from blood loss in the fight was made in order to make his pain feel realistic.

Remake handling
In the making of the fighting game Dissidia: Final Fantasy, Nomura stated that Cloud's appearance was slightly slimmer than in Final Fantasy VII because of the detail the 3D of the PlayStation Portable could give him. While also retaining his original design and his Advent Children appearance, Cloud was given a more distinct look based on his Final Fantasy VII persona.

Cloud's initial redesign for Final Fantasy VII Remake was initially more different than the original, but was later altered to more closely resemble Nomura's original design. Early on in Final Fantasy VII, Cloud crossdresses in order to find Tifa, and Nomura noted this event was popular with the fans and reassured that the remake would keep this part. On the other hand, the character designer stated that their final design was not decided yet. Kazushige Nojima worked on making Cloud's interactions with Tifa and Barret natural. Despite fear of the possible result, Nojima also wanted players to connect with the character once again. Kitase further claimed that in the remake they aimed to make Cloud more inexperienced and informal than in Advent Children, due to him not being fully mature.

Co-director Naoki Hamaguchi noted that since the original game offered the option for the player to decide Cloud's interest in a female character, he wanted the remake to retain this in the form of an intimate conversation when splitting from the main team. The theme song "Hollow" is meant to reflect Cloud's state of mind, with Nomura placing high emphasis on the rock music and male vocals.

Voice actors
The original Final Fantasy VII did not have voice acting. For the Ehrgeiz fighting game, Kenyu Horiuchi voiced Cloud in the arcade version and Nozomu Sasaki voiced him in the home console version. Since Kingdom Hearts, Takahiro Sakurai has been the Japanese voice of Cloud, with Teruaki Sugawara, the voice director at Square, recommending him to Nomura based on prior experience. Nomura had originally asked Sakurai to play the protagonist of The Bouncer, Sion Barzahd, but found that his voice best suited Cloud after hearing him speak. Sakurai received the script without any accompanying visuals, and first arrived for recording under the impression that he would be voicing a character other than Cloud. For Advent Children, Nomura wanted to contrast Cloud and Vincent's voices because of their similar personalities. As a sequel to the highly popular Final Fantasy VII, Sakurai felt greater pressure performing the role than he did when he voiced Cloud for Kingdom Hearts. Sakurai received comments from colleagues revealing their love of the game, some of them jokingly threatening that they would not forgive him if he did not meet their expectations.

During recording, Sakurai was told that "[n]o matter what kind of odds are stacked against him, Cloud won't be shaken". Sakurai says that while he recorded most of his work individually, he performed alongside Ayumi Ito, who voiced Tifa, for a few scenes. These recordings left him feeling "deflated", as the "exchanges he has with Tifa can be pretty painful", with Sakurai commenting that Cloud—whom he empathized with as his voice actor—has a hard time dealing with straight talk. Sakurai says that there were scenes that took over a year to complete, with very precise directions being given requiring multiple takes.

According to Sakurai, Cloud's silence conveys more about him than when he speaks. While possessing heroic characteristics, Sakurai describes Cloud's outlook as negative, and says that he is delicate in some respects. A fan of VII, Sakurai had believed Cloud to be a colder character based on his original impression of him, but later came to view him as more sentimental. After the final product was released, Sakurai was anxious to hear the fans' response, whether positive or negative, and says that most of the feedback he received praised him. While recording Crisis Core, Sakurai felt that Cloud, though still introverted, acted more like a normal teenager, and modified his approach accordingly. Cloud's scream over Zack's death left a major impression on Sakurai, who says that he worked hard to convey the emotional tone of the ending. Sakurai has come to regard Cloud as an important role, commenting that Cloud reminds him of his own past, and that, as a Final Fantasy VII fan himself, he is happy to contribute.

For the remake of Final Fantasy VII, Sakurai found Cloud more difficult to portray than his previous performances. He re-recorded his lines multiple times, and credited the voice director with guiding him. Nomura elaborated that the remake's interpretation of Cloud has a distinct personality; he attempts to act cool, but often fails to do so and instead comes across as awkward, which Nomura asked Sakurai to reflect in his acting. Another challenge for the developers was finding a suitable voice for the teenage Cloud seen during flashbacks. In order to better match Cloud's rural upbringing, they decided to hire a child from a rural area rather than an established actor, and ultimately went with 13-year-old Yukihiro Aizawa.

In most English adaptations, Cloud is voiced by Steve Burton, who was first hired to voice Cloud after a Square employee saw his role in the 2001 film The Last Castle. Burton's work as Cloud in Advent Children served as his first feature-length role, an experience he enjoyed. Calling the character a rare opportunity for him as an actor, Burton describes Cloud as having a "heaviness about him". Burton says he is surprised when fans recognize him for his work as Cloud, whom he has referred to as "[one of the] coolest characters there is", and considers himself lucky to have voiced him.

Although Burton expressed his desire to voice Cloud for the remake of Final Fantasy VII, he was replaced by Cody Christian; Burton thanked Square for his work, and wished Christian luck. Christian said that he was honored to portray what he described as an iconic character, and vowed to give his best performance. He also commented on Burton's previous work, stating, "Steve, you paved the way. You made this character what it is and have contributed in shaping a legacy". Christian used Burton's works as an inspiration for his portrayal of the character. Teenage Cloud was voiced in English by Major Dodson. For the next installment, Christian said that that the character differed from Remake as he aimed to explore more his sensitive side like his past or intimate relationships he is often involved.

In Final Fantasy VII
Cloud is introduced as a mercenary employed by AVALANCHE, an eco-terrorist group opposed to the Shinra Company, and who claims to be formerly of SOLDIER 1st Class, an elite Shinra fighting unit. Beginning the game with the placeholder name "Ex-SOLDIER" (元ソルジャー), Cloud assists AVALANCHE's leader, Barret Wallace, in bombing a Mako reactor, power plants which drain the planet's "Lifestream". Despite appearing detached and more interested in the pay of his work, Cloud demonstrates moments of camaraderie, such as prioritizing Jesse's security over his escape during the Mako Reactor 1's explosion. Players can choose to interact in a friendlier manner with AVALANCHE's members. After being approached by his childhood friend and AVALANCHE member, Tifa Lockhart, Cloud agrees to continue helping AVALANCHE. Cloud encounters Aerith Gainsborough, a resident of Midgar's slums, and agrees to serve as her bodyguard in exchange for a date. He helps her evade Shinra, who are pursuing her because she is the sole survivor of a race known as the Cetra. During the course of their travels, a love triangle develops between Cloud, Tifa and Aerith.

Following the player's departure from Midgar, Cloud narrates his history with Sephiroth, a legendary member of SOLDIER and the game's primary antagonist, and the events that led to his disappearance five years prior. Cloud joined SOLDIER to emulate Sephiroth, and explains that he would sign up for a "big mission" whenever they became available, as the conclusion of Shinra's war with the people of Wutai ended his chances for military fame. Sephiroth started questioning his humanity after accompanying him on a job to Cloud's hometown of Nibelheim and discovering documents concerning Jenova, an extraterrestrial lifeform and Sephiroth's "mother". This ultimately led to Sephiroth burning down Nibelheim. Cloud confronted Sephiroth at Mt Nibel's Mako Reactor and was believed to have killed him, but Cloud dismisses this as a lie, as he knows he would be no match for Sephiroth. He is troubled with the fact that although he most likely would have lost the fight, he lived after challenging Sephiroth.

However, numerous visual and audio clues suggest the unreliability of Cloud's memory. Cloud will spontaneously remember words or scenes from his past, sometimes collapsing to the ground while cradling his head, and appears not to remember things that he should, such as the existence of a SOLDIER First Class named Zack. As Sephiroth begins manipulating his mind, he takes advantage of his memory by telling him that his past is merely fiction and that Shinra created him in an attempt to clone Sephiroth. Cloud learns he cannot remember things such as how or when he joined SOLDIER and resigns himself as a "failed experiment", then goes missing. The party later discovers a comatose Cloud suffering from Mako poisoning.

It is revealed that Cloud never qualified for SOLDIER, and instead enlisted as an infantryman in Shinra's army. During the mission to Nibelheim, he served under Sephiroth and Zack and hid his identity from the townspeople out of embarrassment. Following Sephiroth's defeat of Zack at the Mt. Nibel Mako reactor, Cloud managed to ambush him and throw him into the Lifestream, and believed him to be dead. Both he and Zack were then imprisoned by Shinra's lead scientist, Hojo, for experimentation. Zack later escaped with Cloud to the outskirts of Midgar before Shinra soldiers gunned him down. As a result of exposure to Mako radiation and the injection of Jenova's cells, Cloud's mind created a false personality largely based on Zack's, inadvertently erasing the latter from his memory. After piecing together his identity, Cloud resumes his role as leader and silently expresses his mutual feelings with Tifa the night before the final battle. At the game's conclusion, Sephiroth reappears in Cloud's mind a final time, but is defeated in a one-on-one fight.

In Compilation of Final Fantasy VII
Cloud appears in a minor role in the mobile game Before Crisis, a prequel set six years before the events of Final Fantasy VII. The player, a member of the Shinra covert operatives group, the Turks, encounters Cloud during his time as a Shinra infantryman working to join SOLDIER. The game portrays Cloud's natural talent for swordsmanship, and recounts his role during Nibelheim's destruction.

In the 2005 animated film Advent Children, which is set two years after the conclusion of Final Fantasy VII, Cloud lives with Tifa in the city of Edge along with Marlene, Barret's adopted daughter, and Denzel, an orphan affected by a rampant and deadly disease called Geostigma. Having given up his life as a mercenary, Cloud now works as a courier for the "Strife Delivery Service" (ストライフ・デリバリーサービス), which Tifa set up in her new bar. After Tifa confronts him following the disappearance of Denzel and Marlene, it is revealed that he also suffers from the effects of Geostigma, and he responds that he is unfit to protect his friends and new family.

However, after Tifa urges him to let go of the past, Cloud sets out for the Forgotten City in search of the children. There, he confronts Kadaj, Loz, and Yazoo, genetic remnants of Sephiroth left behind before he diffused into the Lifestream completely. Cloud's battle with Kadaj takes them back to Aerith's church, where Cloud recovers from his Geostigma with Aerith's help. After merging with the remains of Jenova, Kadaj, resurrects Sephiroth. Cloud, having overcome his doubts, defeats Sephiroth once more, leaving a dying Kadaj in his place. At the film's conclusion, Cloud, seeing Aerith and Zack, assures them that he will be fine and reunites with his friends.

Cloud appears in On the Way to a Smile, a series of short stories set between Final Fantasy VII and Advent Children. "Case of Tifa" serves as an epilogue to VII, and portrays Cloud's life alongside Tifa, Marlene, and Denzel. "Case of Denzel" relates how Cloud first met Denzel, and was later adapted as a short original video animation for the release of Advent Children Complete, On the Way to a Smile - Episode: Denzel.

Cloud appears in a supporting role in the PlayStation 2 game Dirge of Cerberus. A year after the events of Advent Children, Cloud, working alongside Barret and Tifa, lends his support to the ground forces of the World Regenesis Organization and his ally Vincent Valentine in their siege of Midgar and counterattack against the rogue Shinra military unit, Deepground.

In the PlayStation Portable game Crisis Core, Cloud is presented as a young Shinra infantryman who befriends Zack. During the game's conclusion, a dying Zack gives Cloud his Buster Sword, telling him that he is his legacy. The game ends with Cloud heading to Midgar, reprising the start of Final Fantasy VII. Zack and Cloud's connection was meant to be expanded upon near the game's ending, with both of them planning to flee to Midgar, but due to limitations in the console's hardware, these scenes could not be implemented and they instead decided to focus on Zack.

Cloud reprises his role from the original Final Fantasy VII in the 2020 remake, which is part of a planned trilogy of games remaking the original 1997 game. While marketed as a remake to the original 1997 game, Square claims that there are other different meanings in this game. He was featured once more as the protagonist in Final Fantasy VII Rebirth.

In Kingdom Hearts
Nomura redesigned Cloud for his appearance in Kingdom Hearts. He is depicted with a crimson cape and a clawed version of his left-handed glove, while the Buster Sword's blade is wrapped in bandages. Nomura stated that Cloud's left arm was inspired by Vincent Valentine, and explained that he wanted to give the character a more demon-like appearance due to his ties to the dark side in the game. Nomura also stated that he wanted to leave the question of whether Cloud was searching for Aerith open to the player's interpretation. In the first game, Kingdom Hearts, Cloud appears in the Olympus Coliseum world, with Hades hiring him to kill Hercules, and fights Sora as a prerequisite. After the fight, Hades sends Cerberus to attack Cloud and Sora, who Hercules saves. Cloud meets with Sora afterward and explains that he is searching for someone. In Kingdom Hearts: Final Mix, there is an additional scene where he battles Sephiroth. During the credits, Cloud is shown reuniting with the residents of Hollow Bastion. A memory-based version of Cloud appears in the Game Boy Advance sequel Kingdom Hearts: Chain of Memories as a boss in the Olympus Coliseum and later as a summon card for Sora.

Cloud reappears in Kingdom Hearts II, depicted with his Advent Children design. He is searching for Sephiroth, and in turn Tifa is searching for him. Cloud fights alongside Leon's team during the Heartless invasion of Hollow Bastion. Should the player choose to engage Sephiroth and win the battle, Cloud returns and fights Sephiroth, which ends with both of them disappearing in a flash of light after Tifa gives Cloud her support. Sora concludes that Cloud is still fighting with Sephiroth, and will not stop until he is defeated. A digital replica of Cloud also appears in Kingdom Hearts coded in the Olympus Coliseum, helping Sora and Hercules battle Hades. Cloud also appears in the Kingdom Hearts manga adaptations, reprising his original role.

In other media
The OVA Last Order: Final Fantasy VII serves as an alternate retelling of Nibelheim's destruction and Zack and Cloud's escape from Shinra imprisonment. Animated and produced by Madhouse, based on a script by Kazuhiko Inukai, several scenes diverge from Final Fantasy VII depiction of events, such as reinterpreting Cloud's rescue of Tifa by having her view his face. Although it is associated with and makes references to the Compilation of Final Fantasy VII, Last Order is considered an outside work.

Cloud has also appeared in various games outside of the Final Fantasy VII continuity. He is a playable character in the PlayStation version of Ehrgeiz. In Chocobo Racing, Cloud is a hidden character that rides a motorcycle. Cloud is one of several playable Final Fantasy VII characters in Itadaki Street Special for the PlayStation 2 and Itadaki Street Portable for the PlayStation Portable. LittleBigPlanet 2 features Cloud as a downloadable character model. Cloud is a playable character representing Final Fantasy VII in the rhythm game Theatrhythm Final Fantasy, with his Advent Children persona serving as downloadable content. Players in Final Fantasy Explorers can briefly transform into Cloud, enabling use of his Omnislash Limit Break from FFVII. Cloud is the protagonist of Final Fantasy VII G-Bike, a mobile game for which Nomura designed a new costume for him. This was inspired by Cloud's Advent Children fights which producer Ichiro Hazama thought was "very cool, and radical", and influences from the title went into the game. CyberConnect2 CEO Hiroshi Matsuyama sought to improve Cloud's popularity with this game.

Cloud appears as a playable guest character in the 2014 Nintendo crossover fighting games Super Smash Bros. for Nintendo 3DS and Wii U, sporting his character designs from both Final Fantasy VII and Advent Children. According to the games' director Masahiro Sakurai, Final Fantasy characters were heavily requested to appear in the Super Smash Bros. series, with Cloud receiving the most support out of all of them. Reflecting on his inclusion in an interview with Tetsuya Nomura, while other characters from the Final Fantasy series were considered, Sakurai ultimately felt that none of them could match Cloud's popularity and he could not imagine including a different character. His model was primarily based on his appearance in the Dissidia series, with slight alterations under Nomura's supervision. He was made available as in-game downloadable content alongside a stage based on Midgar in December 2015. A pair of Cloud amiibo figures were released in July 2017. He returns as a playable character in Super Smash Bros. Ultimate (2018), and is now playable in the game's base roster. As part of the update adding Sephiroth to the game as downloadable content in December 2020, Cloud was given his "Omnislash Ver. 5" to use against opponents, being exclusive to his Advent Children costumes.

Cloud was considered for inclusion as a guest character in the PlayStation 2 version of Soulcalibur II, but this did not come to pass, with Heihachi Mishima from Tekken taking the spot instead.

In the PlayStation game Final Fantasy Tactics and its PlayStation Portable update, The War of the Lions, Cloud is accidentally pulled into the world of Ivalice by an ancient machine called "the Celestial Globe", which was activated by Ramza Beoulve. Cloud is disoriented after arriving in Ramza's world, and after a short exchange with Ramza and the others, he leaves. He wanders into Zarghidas Trade City, where he encounters a flower girl named Aerith. As Cloud is leaving the area, Aerith is accosted by a man demanding payment. Cloud returns to help Aerith escape, and Ramza and his party catch up to him. After the battle, he joins Ramza's party as a playable character. Cloud also appears as an enemy unit in the "Brave Story" series of battles as part of Rendezvous, the unlockable cooperative multiplayer mode in The War of the Lions.

Cloud serves as the representative hero of Final Fantasy VII in Dissidia Final Fantasy, a fighting game featuring characters from the Final Fantasy series. He is depicted in his FFVII design, while his Advent Children design is also available. His fight against Sephiroth in this game is based on their battles from VII and Advent Children. Along with the entire cast, Cloud reappears in the prequel Dissidia 012 as a Warrior of Chaos. Concerned for Tifa, who is on the opposing side, Cloud tries to defeat Chaos alone; after nearly being killed, he is saved by the goddess Cosmos, and becomes one of her warriors. Cloud's main outfit is based on Yoshitaka Amano's original artwork concept, while his Kingdom Hearts outfit is offered as downloadable content. Cloud again appears as a playable character opposite Sephiroth in the series' third entry, Dissidia NT, wearing his Advent Children outfit. The development staff worked carefully to translate Cloud's original moves from his previous role, most notably his swordplay Omnislash which was developed to be his strongest move.

Although Cloud does not appear in Lightning Returns: Final Fantasy XIII, his Final Fantasy VII attire appears as an alternative for the main character alongside the Buster Sword. The Advent Children outfit is also present in Final Fantasy XIV: A Realm Reborn. Cloud's original attire is also present in the mobile phone game Mobius Final Fantasy, and Final Fantasy Explorers-Force.

Legacy
Cloud has been merchandised extensively, in many different forms, including figurines and jewelry. In commemoration of the franchise's 20th anniversary, Square released figurines of him alongside other Final Fantasy protagonists. Square Enix's manager of merchandise, Kanji Tashiro, said at the 2008 San Diego Comic-Con International that Cloud's likeness has produced some of the company's best-selling items, and that fans could look forward to further adaptations of the character in the future. Popular models at the time included Cloud's Advent Children figurine and Final Fantasy VII Hardy-Daytona bike set, both of which sold particularly well in European and North American markets. Square has also released two promotional books primarily focusing on Cloud's character: Cloud vol.1, which was released in 2007, and Cloud message, in 2008. In 2013, a replica of the Buster Sword was created by blacksmith Tony Swatton for the webseries Man at Arms.

Critical reception
Cloud has been mostly well received by critics. In his review of the PC release of Final Fantasy VII, Ron Dulin of GameSpot commented that "a simple understatement will have to suffice: Cloud is easily the most interesting and complex character ever presented in a game". RPGamer's Aujang Abadi called Cloud "one of the most complex characters Square has created", as well as "the first truly complicated main character". Chi Kong Lui, writing for GameCritics, opined that while Final Fantasy VII features "some of the most complex characters ever created, by video game standards", their personalities are "paper-thin". He criticized Cloud's "childish motivations", stating that Final Fantasy VII could not "match the depth of screenplay in Orson Welles' Citizen Kane or the complexities of characters exhibited in Martin Scorsese's Taxi Driver". GamesRadar liked the cross-dressing scene in the game. Sharon Packer identifies Cloud as having mental illness in the form of dissociative identity disorder (DID), while Katie Whitlock identifies him as having involuntary memory resulting from post-traumatic stress disorder (PTSD). The book Japanese Culture Through Videogames addresses Cloud as a complex fictional character, comparing him with Metal Gears Solid Snake, Final Fantasy VIs Terra Branford, and Tekken's Jin Kazama due to his identity issues. Kurt Kalata of Gamasutra stated that Cloud is "somewhat of a weakling" with grandiose delusions and other psychological issues. He also called Cloud one of the first unreliable narrators in a role-playing video game. According to Patrick Holleman, "no RPG has ever deliberately betrayed the connection between protagonist and player like FFVII does". The game's use of the unreliable narrator literary concept has drawn comparisons to films such as Fight Club (1999), The Sixth Sense (1999), American Psycho (2000), and Memento (2000), with Patrick Holleman and Jeremy Parish arguing that the game takes the unreliable narrator concept a step further, by its interactivity establishing a connection between the player and the protagonist. Jack Ridsdale of PCGamesN argues that Cloud is a deconstruction of the hero archetype and toxic masculinity, and compares the plot twist about his true identity to that of Fight Club. Cloud and Terra were also compared with Zidane Tribal from Final Fantasy IX, as they both experience an existential crisis upon realizing that they are not who they thought they were. This was something noted to be common in Japanese role-playing game of the 1990s by the time Zidane debuted.

Cloud and Aerith's tragic relationship was also popular with writers. Cloud and Tifa's relationship has been met with popularity as well. The popularity of both relationships, how they were written and their partial ties to the original game's affinity mechanics have led to multiple instances of fandom debates and ship wars, with many debating and arguing topics ranging from Tifa and Aerith's compatibility with Cloud to the canonicity and intent of his feelings towards either heroine through story and character analysis and authorial or supplemental materials (such as the Ultimanias, developer interviews and tie-in novels) across much of the Compilation of Final Fantasy VII in the years since the original game's release. RPGamer writer Marie Freed states that she saw Tifa's loyalty and love for Cloud, even in the light of having to relive her own traumas, as admirable, and a welcome contrast to the "destined" romance seen in previous title Final Fantasy IV. She closed by stating that while people had aspects of both characters in them, Tifa ultimately represented "reality" over the "ideal" that Aerith represented. Siliconera writer Cory Dinkel claims that, despite there being a major discussion between fans about the love triangle and its opposing ships, Final Fantasy VII ultimately has no love triangle due to a multitude of story and character developments and revelations surrounding the three leads involved in the triangle and supporting character Zack Fair as well as their respective and shared pasts. Dinkel then concludes that, as a partial result of these narrative and character facets, Cloud and Tifa's relationship is the truly canonical romance despite the suggested complexity surrounding it in the sequel film Advent Children. These particular relationship aspects as well as other facets spanning the entire main cast of the Final Fantasy VII franchise were given further prominence within the character writing and story of Final Fantasy VII Remake and Final Fantasy VII Rebirth, with the latter specifically having a major emphasis on connections through further expanded characterization, bonding mechanics and the revamped Gold Saucer dates tied to them; An aspect that has also sparked further analysis and discourse.

Cloud's redesign in Kingdom Hearts was praised as being the best in the game by PSXetreme and Animefringe. His development in Advent Children was praised by DVD Talk as one of the best parts from the film. Cloud's guilt over Aerith's death was effective enough to move viewers. Newtype USA also praised Cloud's role in Advent Children due to his heroic traits despite being a reluctant hero. Joystiq's Andrew Yoon opined that the director's cut version of the film provides more depth to Cloud's development, taking advantage of its longer runtime by better "humanizing [him]". GamesRadar stated that while Cloud felt like a "miserable" character in the film, him coming to terms with his past was appealing alongside his new swords stored in his bike. Yoshinori Kitase said that the fight between Cloud and Sephiroth was popular enough to make Japanese gamers do a remake of it in Dissidia Final Fantasy and expected Western fans would also emulate it. In the Guinness World Records Gamer's Edition of 2011, Cloud was voted as the fifth best video game character. In a poll, Cloud was voted as one of the best characters voiced by Takahiro Sakurai. Meristation praised Cloud's new appearance in Advent Children and how it came across appealing in the spin-off Dirge of Cerberus, despite him having less screentime due to the narrative focusing on Vincent. Destructoid noted there was a message within the writing of the film regarding the characters' lives in Midgar, as they are able to move on with their lives, but Cloud is unable to due to past trauma. Kotaku saw the focus on Midgar's ruins as a parallel with psychological trauma due to how its survivors suffer a disease that cannot be fought physically. In the book The World of Final Fantasy VII: Essays on the Game and Its Legacy, Cloud is also seen as a messiah figure, with Tifa and Aerith supporting him in defeating Sephiroth, though the end of the narrative has Cloud appreciating the victory thanks to his "pillars". While Cloud is never addressed as a God, he has to protect the peace as Sephiroth plays the role of Satan and his Shadow, with Cloud having to surpass him in the narrative. When deciding on using a Final Fantasy representative for Super Smash Bros. for Nintendo 3DS and Wii U, Nomura and Super Smash Bros. series creator and director Masahiro Sakurai quickly agreed with adding Cloud to the cast. This was mostly because of Cloud's high popularity within the series in contrast to other Final Fantasy characters like Bartz or Terra, and multiple requests from fans of the character. According to Sakurai, he envisioned Cloud as being a relatively easy to play character in anticipation of a large variety of players using him, and stated that the Buster Sword served as a lynchpin in regard to developing his sword swings. Cloud's popularity and addition to the Super Smash Bros. series generated multiple response, most notably in Twitter's trends. Although The Verge pointed out that the series had featured other third-party characters like Solid Snake, Mega Man, and Sonic the Hedgehog, they nevertheless expressed surprise over Cloud's inclusion because of Final Fantasy VII's lack of release on a Nintendo console. Despite that, he was well received.

During anticipation for the remake of Final Fantasy VII, Cloud's role in the trailers were the focus of multiple journalists. IGN highly praised the design and marketing involving his visual appearance. TechSpot noted fans were interested in Cloud's love interests but claimed that Cloud's relationship with Aerith was subtle in retrospective. Comic Book Resources also looked forward to this love triangle. Despite noting his antisocial and aloof attitudes in the remake, IGN, Metro and GameSpot commented Cloud is the character who has through the most notable arc in the entire remake. In a feature article, GameSpot compared Cloud with Kazuma Kiryu from Sega's Yakuza video game series due to both sharing similar features and development across the narrative through Midgar. When it comes to Rebirth, Digital Trend saw Cloud's failures to save Aerith as a story about dealing with trauma as the returning player find a possible way to stop Aerith's death like Cloud attempts and instead ends in tragedy again.

For his performance as Cloud in Final Fantasy VII Remake, Cody Christian received a nomination for "Performer in a Leading Role" at the 17th British Academy Games Awards.

Cultural impact
Cloud set a trend in the Final Fantasy series in regards to the characterization of main characters. Following Final Fantasy VII, Nomura designed Squall Leonhart, the lead of Final Fantasy VIII giving him a similar anti-hero persona. Tasked with creating a "female version of Cloud" for Final Fantasy XIII, Nomura designed Lightning with Cloud's success in mind, stating that he "desired for her to be ... loved for a long time, like Cloud". After Lightning was voted as the most popular female character in the series by Japanese fans, Mollie Patterson of EGMNOW commented: "Some have also brought up that Lightning is kind of the female equivalent to Cloud, which might be why she gets so much love". However, for Final Fantasy X, the staff aimed for a more contrasting hero would act more cheerful in the narrative, Tidus. Similarly, Nomura created Noctis Lucis Caelum from Final Fantasy XV with another different characterization from Cloud and Squall's and instead more insecure. When the game Nier failed to be a success in North America despite portraying an elder as a protagonist to appeal to Westerns, director Yoko Taro convinced other staff members to use instead a younger type for the English remaster version, using Cloud as an influence.

IGN stated that Cloud set a trend for role-playing video game heroes, describing his "spiky blond hair" and "gigantic Buster Sword" as "instantly identifiable icons, recognized by gamers around the world". Edge described Cloud as an example of "excellent design and characterization". Famitsu in 2010 published a seven-page tribute to Cloud, showcasing his many appearances throughout the years. In 2014, IGN held a poll for fans to vote for the most favorite Final Fantasy character of all time, as well as individually in each title. Over 2 million votes were cast in. Cloud ranked number one of all the characters. He also took the same place in the Final Fantasy VII title alone as well. He was named best character of all time in Dengeki PlayStation's 2007 "Den-Play Awards". GameSpot published a video titled "Greatest Game Hero: Cloud Strife" for his inclusion in their 2009 "All Time Greatest Game Hero" poll, showcasing scenes of Cloud as he appears in Advent Children. UGO Networks placed him first in their 2010 list of top Japanese RPG characters, stating "Cloud is the cloth from whom the great majority of JRPG characters were cut".

In an Oricon poll conducted in 2008, Cloud placed second overall for most popular video game character, ranking second among men and third with women. In a 2010 ASCII Media Works poll asking fans which video game or manga character they would like to name their children after, Cloud's name ranked third for male characters. That same year, Famitsu readers voted Cloud as the third best video game character of all time. In promoting Final Fantasy VII Remake, artwork of Cloud was used in buildings from Los Angeles. In 2024, a poll conducted by BAFTA with around 4,000 respondents named Cloud as the sixteenth most iconic video-game character of all time.

title: Cloud Strife


text: Talk:Saint Martin (island)

title: Talk:Saint Martin (island)


text:
Carlsburg

Carlsburg might refer to:
 * Carlsburg, Schlei, a settlement at the Schlei river, Germany, at the site of ancient Gereby
 * Carlsburg, Weser, a former Swedish settlement at the Weser river, Germany, at the site of current Bremerhaven

title: Carlsburg


text:
Unit (ring theory)

In algebra, a unit or invertible element of a ring is an invertible element for the multiplication of the ring. That is, an element $u$ of a ring $R$ is a unit if there exists $v$ in $R$ such that $$vu = uv = 1,$$ where $1$ is the multiplicative identity; the element $v$ is unique for this property and is called the multiplicative inverse of $u$. The set of units of $R$ forms a group $R×$ under multiplication, called the group of units or unit group of $R$. Other notations for the unit group are $R×$, $×$, and $$ (from the German term Einheit).

Less commonly, the term unit is sometimes used to refer to the element $R^{∗}$ of the ring, in expressions like ring with a unit or unit ring, and also unit matrix. Because of this ambiguity, $U(R)$ is more commonly called the "unity" or the "identity" of the ring, and the phrases "ring with unity" or a "ring with identity" may be used to emphasize that one is considering a ring instead of a rng.

Examples
The multiplicative identity $E(R)$ and its additive inverse $1$ are always units. More generally, any root of unity in a ring $R$ is a unit: if $1$, then $1$ is a multiplicative inverse of $r$. In a nonzero ring, the element 0 is not a unit, so $−1$ is not closed under addition. A nonzero ring $R$ in which every nonzero element is a unit (that is, $r^{n} = 1$) is called a division ring (or a skew-field). A commutative division ring is called a field. For example, the unit group of the field of real numbers $r^{n−1}$ is $R×$.

Integer ring
In the ring of integers $R× = R ∖ \{0\}$, the only units are $R$ and $R ∖ \{0\}$.

In the ring $Z$ of integers modulo $n$, the units are the congruence classes $1$ represented by integers coprime to $n$. They constitute the multiplicative group of integers modulo $n$.

Ring of integers of a number field
In the ring $−1$ obtained by adjoining the quadratic integer $Z/nZ$ to $(mod n)$, one has $Z[√3]$, so $√3$ is a unit, and so are its powers, so $Z$ has infinitely many units.

More generally, for the ring of integers $R$ in a number field $F$, Dirichlet's unit theorem states that $(2 + √3)(2 − √3) = 1$ is isomorphic to the group $$\mathbf Z^n \times \mu_R$$ where $$\mu_R$$ is the (finite, cyclic) group of roots of unity in $R$ and $n$, the rank of the unit group, is $$n = r_1 + r_2 -1, $$ where $$r_1, r_2$$ are the number of real embeddings and the number of pairs of complex embeddings of $F$, respectively.

This recovers the $2 + √3$ example: The unit group of (the ring of integers of) a real quadratic field is infinite of rank 1, since $$r_1=2, r_2=0$$.

Polynomials and power series
For a commutative ring $R$, the units of the polynomial ring $Z[√3]$ are the polynomials $$p(x) = a_0 + a_1 x + \dots + a_n x^n$$ such that $R×$ is a unit in $R$ and the remaining coefficients $$a_1, \dots, a_n$$ are nilpotent, i.e., satisfy $$a_i^N = 0$$ for some $Z[√3]$. In particular, if $R$ is a domain (or more generally reduced), then the units of $R[x]$ are the units of $R$. The units of the power series ring $$Rx$$ are the power series $$p(x)=\sum_{i=0}^\infty a_i x^i$$ such that $a_{0}$ is a unit in $R$.

Matrix rings
The unit group of the ring $N$ of $R[x]$ matrices over a ring $R$ is the group $a_{0}$ of invertible matrices. For a commutative ring $R$, an element $A$ of $M_{n}(R)$ is invertible if and only if the determinant of $A$ is invertible in $R$. In that case, $n × n$ can be given explicitly in terms of the adjugate matrix.

In general
For elements $x$ and $y$ in a ring $R$, if $$1 - xy$$ is invertible, then $$1 - yx$$ is invertible with inverse $$1 + y(1-xy)^{-1}x$$; this formula can be guessed, but not proved, by the following calculation in a ring of noncommutative power series: $$(1-yx)^{-1} = \sum_{n \ge 0} (yx)^n = 1 + y \left(\sum_{n \ge 0} (xy)^n \right)x = 1 + y(1-xy)^{-1}x.$$ See Hua's identity for similar results.

Group of units
A commutative ring is a local ring if $GL_{n}(R)$ is a maximal ideal.

As it turns out, if $M_{n}(R)$ is an ideal, then it is necessarily a maximal ideal and $A−1$ is local since a maximal ideal is disjoint from $R ∖ R×$.

If $R$ is a finite field, then $R ∖ R×$ is a cyclic group of order $R$.

Every ring homomorphism $R×$ induces a group homomorphism $R×$, since $f$ maps units to units. In fact, the formation of the unit group defines a functor from the category of rings to the category of groups. This functor has a left adjoint which is the integral group ring construction.

The group scheme $$\operatorname{GL}_1$$ is isomorphic to the multiplicative group scheme $$\mathbb{G}_m$$ over any base, so for any commutative ring $R$, the groups $$\operatorname{GL}_1(R)$$ and $$\mathbb{G}_m(R)$$ are canonically isomorphic to $|R| − 1$. Note that the functor $$\mathbb{G}_m$$ (that is, $f : R → S$) is representable in the sense: $$\mathbb{G}_m(R) \simeq \operatorname{Hom}(\mathbb{Z}[t, t^{-1}], R)$$ for commutative rings $R$ (this for instance follows from the aforementioned adjoint relation with the group ring construction). Explicitly this means that there is a natural bijection between the set of the ring homomorphisms $$\mathbb{Z}[t, t^{-1}] \to R$$ and the set of unit elements of $R$ (in contrast, $$\mathbb{Z}[t]$$ represents the additive group $$\mathbb{G}_a$$, the forgetful functor from the category of commutative rings to the category of abelian groups).

Associatedness
Suppose that $R$ is commutative. Elements $r$ and $s$ of $R$ are called  if there exists a unit $u$ in $R$ such that $R× → S×$; then write $U(R)$. In any ring, pairs of additive inverse elements $R ↦ U(R)$ and $r = us$ are associate, since any ring includes the unit $r ~ s$. For example, 6 and −6 are associate in $−x$. In general, $3 = −3$ is an equivalence relation on $x$.

Associatedness can also be described in terms of the action of $1 ≠ −1$ on $R$ via multiplication: Two elements of $R$ are associate if they are in the same $x$-orbit.

In an integral domain, the set of associates of a given nonzero element has the same cardinality as $−x$.

The equivalence relation $−1$ can be viewed as any one of Green's semigroup relations specialized to the multiplicative semigroup of a commutative ring $R$.

title: Unit (ring theory)


text:
Anthony of Sourozh

Anthony of Sourozh (Митрополит Антоний Сурожский, secular name Andrei Borisovich Bloom, Андрей Борисович Блум and commonly known as Anthony Bloom; 19 June 1914 – 4 August 2003) was best known as a writer and broadcaster on prayer and the Christian life. He was a monk and bishop of the Russian Orthodox Church. He was founder and for many years bishop - then archbishop, then metropolitan - of the Diocese of Sourozh, the Patriarchate of Moscow's diocese for Great Britain and Ireland (the name 'Sourozh' is that of the historical episcopal see in Sudak in Crimea). As a bishop he became well known as a pastor, preacher, spiritual director and writer on prayer and the Christian life.

Early life
Andrei Bloom was born on 19 June 1914, in Lausanne, Switzerland, to Xenia and Boris Edvardovich Bloom. His mother was the half sister of the composer Alexander Scriabin.

He spent his early childhood in Russia and Iran. During the Russian Revolution the family had to leave Iran, and by 1923 they were settled in Paris, where he was educated. He graduated in physics, chemistry and biology, and took his doctorate in medicine at the University of Paris.

By his own words, he met Christ, when he was a teenager: "I met Christ as a Person at a moment when I needed him in order to live, and at a moment when I was not in search of him. I was found; I did not find him".

"I was a teenager then. Life had been difficult in the early years and now it had of a sudden become easier. All the years when life had been hard I had found it natural, if not easy, to fight; but when life became easy and happy I was faced quite unexpectedly with a problem: I could not accept aimless happiness. Hardships and suffering had to be overcome, there was something beyond them. Happiness seemed to be stale if it had no further meaning".

"As it often happens when you are young and when you act with passion, bent to possess either everything or nothing, I decided that I would give myself a year to see whether life had a meaning, and if I discovered it had none I would not live beyond the year..."--

Career
In 1939, before leaving for the front as a surgeon in the French Army, he secretly professed monastic vows in the Russian Orthodox Church. In 1943 he was tonsured and received the name of Antony. During the occupation of France by Nazi Germany he worked as a doctor, and took part in the French Resistance.

After the war he continued practising as a physician until 1948, when he was ordained to the presbyterate and sent to Britain to serve as Orthodox Christian chaplain of the Fellowship of Saint Alban and Saint Sergius, a society established to foster understanding and friendship between the Russian Orthodox and Anglican churches. In 1950 he was appointed vicar of the Russian Patriarchal parish in London.

In 1957 he was consecrated as bishop, and as archbishop in 1962 in charge of the Russian Orthodox Diocese of Sourozh.

In 1963 he was appointed exarch of the Moscow Patriarchate in Western Europe, and in 1966 was assigned the rank of metropolitan bishop.

In 1974 by mutual agreement he was released from the function of exarch, in order to devote himself more fully to the pastoral needs of the growing flock of his diocese. Between 1966 and 1986 he brought out six books on prayer.

In mid 2003, Bloom resigned as diocesan bishop. He died on 4 August 2003. His grave in the Brompton Cemetery, London, is visited by Christians and many others.

Honours
Bloom received honorary doctorates from the University of Aberdeen ("for preaching the Word of God and renewing the spiritual life of this country"); from the Moscow Theological Academy for his theological, pastoral and preaching work; from the University of Cambridge; and from the Kiev Theological Academy.

Writings
His books were published in English in Britain. His texts were subsequently widely published in Russia as books and in periodicals.
 * Note: dates are for British editions.
 * Publications
 * 1966 – Living Prayer
 * 1970 – School for Prayer
 * 1970 – Beginning to Pray (re-publishing of School for Prayer)
 * 1971 – God and man
 * 1972 – Meditations on a Theme: a spiritual journey
 * 1973 – Courage to Pray
 * 1986 – The Essence of Prayer (Contains Living Prayer, School for Prayer, God and Man, and Courage to Pray)

 * Posthumously published works
 * 2005 – Encounter
 * 2007 – The Living Body of Christ
 * 2009 – Coming Closer to Christ: on Confession
 * 2017 – Churchianity vs. Christianity

Posthumous works
The Metropolitan Anthony of Sourozh Foundation is a body of independent trustees who collect together and publish his writings. As of July 2011, the foundation undertakes this by managing the copyrights in his works and by commissioning new selections and approved translations.

The foundation is also establishing the official archive of Bloom's papers and writings, together with related materials such as recordings of talks, broadcasts and sermons.

The foundation is the legal owner of the worldwide copyrights and other intellectual property rights in Bloom's works. Its charity registered number is 1120395 and the chairman of the trustees is Protodeacon Peter Scorer.

title: Anthony of Sourozh


text:
Cedar Walton

Cedar Anthony Walton Jr. (January 17, 1934 – August 19, 2013) was an American hard bop jazz pianist. He came to prominence as a member of drummer Art Blakey's band, The Jazz Messengers, before establishing a long career as a bandleader and composer. Several of his compositions have become jazz standards, including "Mosaic", "Bolivia", "Holy Land", "Mode for Joe" and "Ugetsu/Fantasy in D".

Early life
Walton was born and grew up in Dallas, Texas. His mother Ruth, an aspiring concert pianist, was his first teacher, and took him to jazz performances around Dallas. Walton cited Nat King Cole, Bud Powell, Thelonious Monk and Art Tatum as his major influences on piano. He began emulating these artists' recordings from an early age.

After briefly attending Dillard University in New Orleans, he entered the University of Denver as a composition major, but was encouraged to switch to a music-education program with the goal of a career in the local public school system. This later proved extremely useful, as he learned to play and arrange for various instruments, a talent he honed with Art Blakey's Jazz Messengers.

Walton was tempted by the promise of New York City through his associations with John Coltrane, Charlie Parker, and Richie Powell, whom he met at after-hours sessions around Denver, Colorado. In 1955, he decided to leave school and drove with a friend to New York City. He quickly got recognition from Johnny Garry, who ran Birdland at the time.

Later life and career
Walton was drafted into the U.S. Army and stationed in Germany, cutting short his rising status in the after-hours jazz scene. In the Army he played with musicians Leo Wright, Don Ellis and Eddie Harris. On his discharge after two years, he picked up where he left off, playing as a sideman with Kenny Dorham, on whose 1958 album This Is the Moment!, he made his recording debut. He joined the Jazztet led by Benny Golson and Art Farmer and played with them from 1958 to 1961. In April 1959 he recorded an alternate take of "Giant Steps" with John Coltrane, though he did not solo. In the early 1960s Walton joined Art Blakey's Jazz Messengers as a pianist-arranger (on the same day Freddie Hubbard joined the group), where, for the next three years, he wrote and arranged such originals as "Ugetsu" and "Mosaic".

He left the Messengers in 1964 and by the late 1960s was part of the house rhythm section at Prestige Records. In addition to releasing his own recordings there, he recorded with Sonny Criss, Pat Martino, Eric Kloss, and Charles McPherson. For a year, he was Abbey Lincoln's accompanist, and recorded with Lee Morgan from 1966 to 1968. In the mid-1970s he led the funk group Mobius. He arranged and recorded for Etta James from the mid-1990s on, helping her win a Grammy Award for Best Jazz Vocal Album for Mystery Lady: Songs of Billie Holiday (RCA Victor) in 1994.

Many of Walton's compositions have become jazz standards, including "Firm Roots", "Bolivia" (perhaps his best known), "Holy Land", "Mode for Joe" and "Cedar's Blues". One of his oldest compositions is "Fantasy in D", recorded as "Ugetsu" by Art Blakey in 1963, and as "Polar AC" by Freddie Hubbard, first in 1971.

In January 2010, Walton was inducted as a National Endowment for the Arts Jazz Master.

Billy Higgins partnership and The Magic Triangle
Walton played and recorded with drummer Billy Higgins from the mid-1960s through the 1990s. Higgins and Walton first recorded together in 1965 for Eddie Harris's The In Sound LP, and Higgins played on Walton's first album, Cedar! (1967). They continued to play and record together regularly through the 1970s and 1980s. In the early 1970s, bassist Sam Jones formed a working trio, The Magic Triangle, with Walton and Higgins. They recorded albums under both Walton's and Jones's leadership, and played on several 1970s albums by Art Farmer and Clifford Jordan (including Jordan's Glass Bead Games and Farmer's Art Farmer Quintet at Boomers). Though they did not record as The Magic Triangle, Jordan's albums Clifford Jordan and the Magic Triangle on Stage, Firm Roots, and The Highest Mountain cited the trio's informal name. They also backed up Hank Mobley, Gene Ammons and Sonny Stitt, and Idrees Sulieman in the 1970s on live and studio recordings. Drummer Louis Hayes sometimes replaced Higgins during this period for recordings and live performances.

In 1975, The Magic Triangle became the core of the Eastern Rebellion jazz collective, which featured (at different times) saxophonists George Coleman, Bob Berg and Ralph Moore, trombonist Curtis Fuller, and trumpeter Alfredo "Chocolate" Armenteros. Eastern Rebellion released seven albums between 1975 and 1994, all featuring Walton and Higgins.

Sam Jones died in late 1981, and Walton and Higgins carried on with bassist David "Happy" Williams, who also joined them on the four final Eastern Rebellion recordings. Walton, Williams, and Higgins recorded regularly throughout the 1980s and early 1990s under Walton's leadership. Walton and Higgins also appeared on recordings by Freddie Hubbard, Stanley Turrentine, Slide Hampton, Junior Cook, Bobby Hutcherson, Frank Morgan, and Jackie McLean (sometimes with other bassists in place of Williams).

With bassist Ron Carter, Walton and Higgins recorded two live albums in 1991 at the Sweet Basil Jazz Club as the Sweet Basil Trio. A third Sweet Basil Trio record, this time with Williams on bass, was recorded in 1993.

Writing of The Magic Triangle's collaborations with Clifford Jordan, pianist and essayist Ethan Iverson wrote: "Taken as a collection, the Jordan–Walton canon from the seventies is some of the best jazz ever recorded....If I had to pick only one from that collaboration for a desert isle, it would be Jordan's Night of the Mark VII."

Death
After a brief illness, Walton died on August 19, 2013, at his home in Brooklyn, New York, at age 79.

As leader/co-leader
Posthumous releases
 * Reliving The Moment – Live At The Keystone Korner (HighNote, 2014) – live rec. 1977–78
 * Charmed Circle (HighNote, 2017) – rec. 1979

As leader of Eastern Rebellion
 * 1975: Eastern Rebellion with George Coleman, Sam Jones & Billy Higgins (Timeless, 1976; Impulse, 1988)
 * 1977: Eastern Rebellion 2 with Bob Berg, Sam Jones & Billy Higgins (Timeless, 1977)
 * 1979: Eastern Rebellion 3 with Curtis Fuller, Bob Berg, Sam Jones & Billy Higgins (Timeless, 1980)
 * 1983: Eastern Rebellion 4 with Curtis Fuller, Bob Berg, Alfredo "Chocolate" Armenteros, David Williams & Billy Higgins (Timeless, 1984)
 * 1990: Mosaic with Ralph Moore, David Williams & Billy Higgins (MusicMasters, 1992)
 * 1992: Simple Pleasure with Ralph Moore, David Williams & Billy Higgins (MusicMasters, 1993)
 * 1994: Just One of Those... Nights at the Village Vanguard with Ralph Moore, David Williams & Billy Higgins (MusicMasters, Jazz Heritage, 1994)

As a member
The Timeless All Stars
 * It's Timeless (Timeless, 1982)
 * Timeless Heart (Timeless, 1983)
 * Essence (Delos, 1986)
 * Time for the Timeless All Stars (Early Bird, 1991)
 * In a New York Minute with Ian Shaw (Milestone, 1999)

As sideman
With Gene Ammons and Sonny Stitt
 * 1973: God Bless Jug and Sonny (Prestige, 2001)
 * 1973: Left Bank Encores (Prestige, 2001)

With Art Blakey
 * Mosaic (Blue Note, 1961)
 * Three Blind Mice (Blue Note, 1962)
 * Caravan (Riverside, 1963)
 * Ugetsu (Riverside, 1963)
 * Buhaina's Delight (Blue Note, 1963)
 * Free for All (Blue Note, 1964)
 * Kyoto (Riverside, 1964)
 * Indestructible (Blue Note, 1964)
 * Golden Boy (Colpix, 1964)
 * Buhaina (Prestige, 1973)
 * Anthenagin (Prestige, 1973)

With Donald Byrd
 * Slow Drag (Blue Note, 1967)
 * Blackjack (Blue Note, 1968)

With Sonny Criss
 * Up, Up and Away (Prestige, 1967)
 * The Beat Goes On! (Prestige, 1968)

With Kenny Dorham
 * This Is the Moment! (Riverside, 1958)
 * Blue Spring with Cannonball Adderley (Riverside, 1959)

With Art Farmer
 * The Time and the Place (Columbia, 1967)
 * The Art Farmer Quintet Plays the Great Jazz Hits (Columbia, 1967)
 * Homecoming (Mainstream, 1971)
 * Yesterday's Thoughts (East Wind, 1975)
 * To Duke with Love (East Wind, 1975)
 * The Summer Knows (East Wind, 1976)
 * Art Farmer Quintet at Boomers (East Wind, 1976)

With Curtis Fuller
 * Soul Trombone (Impulse!, 1961)
 * Smokin' (Mainstream, 1972)

With Benny Golson
 * Take a Number from 1 to 10 (Argo, 1961)
 * This Is for You, John (Timeless, 1987) – rec. 1983

With Dexter Gordon
 * 1972: Generation (Prestige, 1972)
 * 1972: Tangerine (Prestige, 1975)
 * 1980: Gotham City (Columbia, 1981)

With Steve Grossman
 * Love Is the Thing (Red, 1985)
 * A Small Hotel (Dreyfus Jazz, 1993)

With Eddie Harris
 * Cool Sax from Hollywood to Broadway (Columbia, 1964)
 * The In Sound (Atlantic, 1965)
 * Mean Greens (Atlantic, 1966)
 * The Tender Storm (Atlantic, 1966)
 * Excursions (Atlantic, 1973) – rec. 1966–73
 * How Can You Live Like That? (Atlantic, 1976)

With Jimmy Heath
 * Jimmy Heath Orchestra, Really Big! (Riverside, 1960)
 * The Quota (Riverside, 1961)
 * Triple Threat (Riverside, 1962)

With Billy Higgins
 * Soweto (Red, 1979)
 * Once More (Red, 1980)
 * The Soldier (Timeless, 1981) – rec. 1979
 * Bridgework (Contemporary, 1987)
 * Billy Higgins Quintet (Sweet Basil, 1993)

With Freddie Hubbard
 * Hub Cap (Blue Note, 1961)
 * The Body & the Soul (Impulse!, 1963)
 * Here to Stay (Blue Note, 1979) – rec. 1962
 * Bolivia (Musicmasters, 1991)

With Bobby Hutcherson
 * Highway One (Columbia, 1978)
 * Farewell Keystone (Evidence, 1992) – rec. 1982

With Milt Jackson
 * Milt Jackson at the Museum of Modern Art (Limelight, 1965)
 * Born Free (Limelight, 1966)
 * Milt Jackson and the Hip String Quartet (Verve, 1968)
 * Goodbye (CTI, 1973)
 * Olinga (CTI, 1974)
 * Milt Jackson at the Kosei Nenkin (Pablo, 1976)
 * Bags' Bag (Pablo, 1979)
 * It Don't Mean a Thing If You Can't Tap Your Foot to It (Pablo, 1984)
 * The Harem (Musicmasters, 1991)
 * Reverence and Compassion (Warner Bros., 1993)

With Etta James
 * Mystery Lady: Songs of Billie Holiday (RCA Victor, 1994)
 * Time After Time (RCA Victor, 1995)
 * 12 Songs of Christmas (Private Music, 1998)
 * Blue Gardenia (Private Music, 2001)

With The Jazztet (Art Farmer and Benny Golson)
 * Big City Sounds (Argo, 1960)
 * The Jazztet and John Lewis (Argo, 1961)
 * The Jazztet at Birdhouse (Argo, 1961)
 * Voices All (Eastworld, 1982)

With J. J. Johnson
 * Really Livin' (Columbia, 1959)
 * J.J. Inc. (Columbia, 1961)

With Philly Joe Jones
 * Advance! (Galaxy, 1978)
 * Drum Song (Galaxy, 1985) – rec. 1978

With Sam Jones
 * Seven Minds (East Wind, 1974)
 * Something in Common (Muse, 1977)

With Clifford Jordan
 * Spellbound (Riverside, 1960)
 * Starting Time (Jazzland, 1961)
 * Bearcat (Jazzland, 1962)
 * These are My Roots: Clifford Jordan Plays Leadbelly (Atlantic, 1965)
 * Glass Bead Games (Strata-East, 1974)
 * Night of the Mark VII (Muse, 1975)
 * Firm Roots (Steeplechase, 1975)
 * The Highest Mountain (Steeplechase, 1975)
 * On Stage Vol. 1 (SteepleChase, 1977) – rec. 1975
 * On Stage Vol. 2 (SteepleChase, 1978) – rec. 1975
 * On Stage Vol. 3 (SteepleChase, 1979) – rec. 1975
 * Half Note (SteepleChase, 1985) – rec. 1974

With Kimiko Kasai
 * Kimiko Is Here (CBS/Sony, 1974)
 * Kimiko Kasai (Kittye, 1990)

With Charles McPherson
 * From This Moment On! (Prestige, 1968)
 * Horizons (Prestige, 1968)

With Blue Mitchell
 * The Cup Bearers (Riverside, 1962)
 * Boss Horn (Blue Note, 1966)
 * Stratosonic Nuances (RCA, 1975)
 * Summer Soft (Impulse!, 1977)

With Frank Morgan
 * Easy Living (Contemporary, 1985)
 * Lament (Contemporary, 1986)
 * Bebop Lives! (Contemporary, 1987)
 * Love, Lost & Found (Telarc, 1995)

With Lee Morgan
 * Charisma (Blue Note, 1966)
 * The Rajah (Blue Note, 1966)
 * Sonic Boom (Blue Note, 1967)
 * The Sixth Sense (Blue Note, 1968)
 * Caramba! (Blue Note, 1968)

With David "Fathead" Newman
 * Resurgence! (Muse, 1981)
 * Diamondhead (HighNote, 1988)
 * Davey Blue (HighNote, 2002)

With Houston Person
 * Chocomotive (Prestige, 1967)
 * Trust in Me (Prestige, 1967)
 * Blue Odyssey (Prestige, 1968)
 * Broken Windows, Empty Hallways (Prestige, 1972)
 * The Big Horn (Muse, 1979) – rec. 1976
 * Very PERSONal (Muse, 1980)
 * Naturally (HighNote, 2012)

With Sonny Red
 * The Mode (Jazzland, 1961)
 * Sonny Red (Mainstream, 1971)

With Archie Shepp
 * For Losers (Impulse!, 1969)
 * Kwanza (Impulse!, 1969)

With Lucky Thompson
 * Goodbye Yesterday (Groove Merchant, 1973)
 * Concert: Friday the 13th – Cook County Jail (Groove Merchant, 1973)
 * I Offer You (Groove Merchant, 1973)

With Stanley Turrentine
 * Another Story (Blue Note, 1969)
 * More Than a Mood (MusicMasters, 1992)

With others
 * Ray Brown, Something for Lester (Contemporary, 1977)
 * Kenny Burrell, Sunup to Sundown (Contemporary, 1991)
 * Benny Carter, Elegy in Blue (MusicMasters, 1994)
 * Joe Chambers, The Almoravid (Muse, 1974)
 * Junior Cook, Somethin's Cookin' (Muse, 1981)
 * Ornette Coleman, Broken Shadows (Columbia, 1982) – rec. 1972
 * Ornette Coleman, The Complete Science Fiction Sessions (Columbia, 2000) – rec. 1972
 * Johnny Coles, Katumbo (Dance) (Mainstream, 1971)
 * John Coltrane, Giant Steps (Atlantic, 1959) [alternate takes]
 * Larry Coryell, Cedars of Avalon (HighNote, 2002)
 * Teddy Edwards, It's All Right! (Prestige, 1967)
 * Johnny Griffin, Bush Dance (Galaxy, 1978)
 * Slide Hampton, Roots (Criss Cross, 1985)
 * Joe Henderson, Mode for Joe (Blue Note, 1966)
 * Bjorn Johansen, Take One (Odin, 1987)
 * Etta Jones, Save Your Love for Me (Muse, 1980)
 * Eric Kloss, First Class Kloss! (Prestige, 1967)
 * Abbey Lincoln, Abbey Is Blue (Riverside, 1959)
 * Pat Martino, Strings! (Prestige, 1967)
 * Christian McBride, New York Time (Chesky, 2006)
 * Dave Pike, Pike's Groove (Criss Cross Jazz, 1986)
 * Ian Shaw, In a New York Minute (Milestone, 1999) – rec. 1998
 * Woody Shaw, Setting Standards (Muse, 1984) – rec. 1983
 * James Spaulding, James Spaulding Plays the Legacy of Duke Ellington (Storyville, 1977)
 * Idrees Sulieman, Now Is the Time (SteepleChase, 1976)
 * Sonny Stitt, Just In Case You Forgot How Bad He Really Was (32 Jazz, 1981)
 * Jay Thomas, Easy Does It (Discovery, 1985)
 * David Williams, Up Front (Timeless, 1987)
 * Christopher Hollyday, Christopher Hollyday (BMG, 1989)

title: Cedar Walton


text:
Suse

Suse may refer to:

 * Fort Suse, a military installation in the Kurdistan region of Iraq
 * Suse Heinze (1920–2018), German diver

title: Suse