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Tsubasa: Reservoir Chronicle

Tsubasa: Reservoir Chronicle (ツバサ-RESERVoir CHRoNiCLE-) is a Japanese manga series written and illustrated by the manga artist group Clamp. It takes place in the same fictional universe as many of Clamp's other manga series, most notably xxxHolic. The plot follows how Sakura, the princess of the Kingdom of Clow, loses all her memories and how Syaoran, a young archaeologist who is her childhood friend, goes on arduous adventures to save her, with two other companions. The Dimensional Witch Yūko Ichihara instructs him to go with two people, Kurogane and Fai D. Flowright. They search for Sakura's memories, which were scattered in various worlds in the form of angelic-like feathers, as retrieving them will help save her very being. Tsubasa was conceived when four Clamp artists wanted to create a manga series that connected all their previous works. They took the designs for the main protagonists from their earlier manga called Cardcaptor Sakura.

It was serialized in Kodansha's shōnen manga magazine Weekly Shōnen Magazine from May 2003 until October 2009, and was collected in twenty-eight tankōbon volumes, totalling 232 chapters - 18 to 20 pages each. The manga was adapted into an anime series, Tsubasa Chronicle (ツバサ･クロニクル), animated by Bee Train, which aired 52 episodes over two seasons during 2005 and 2006. Production I.G released an interlude film between the first two seasons titled Tsubasa Reservoir Chronicle the Movie: The Princess in the Birdcage Kingdom, as well as five original video animations (OVAs) between November 2007 and May 2009, which acted as a sequel to the second season. The manga was licensed for English language release by Del Rey Manga, who has released all of its volumes since April 27, 2004. Funimation licensed the anime for English release. They published all the TV episodes in DVD volumes as well as the film. The OVAs of Tsubasa were released in North America in January 2011. Various video games and drama CDs based on the series have been released. A sequel titled Tsubasa: WoRLD CHRoNiCLE started serialization in 2014 and ended in 2016.

The series has been well received by Japanese and English readers, and it reached high positions on various best-seller lists; the series has sold over twenty million manga volumes in Japan and one million units in North America. Both the manga and anime have had positive response from critics, who praised its connections to previous works and its artwork. The plot twists in later parts of the story have resulted in mixed reactions due to positive focus on the impact on the plot and negative one based on how confusing they are.

Plot
The series begins by introducing childhood friends with quite a strong and close friendship: Syaoran, a young archaeologist who is investigating a ruin within the Kingdom of Clow, and Sakura, princess of the Kingdom of Clow and daughter of the late king Clow Reed. When Sakura visits Syaoran in the ruins, her spirit takes on the form of a pair of ghostly feathered wings that disintegrate to other dimensions. As she descends into a catatonic near death state, Syaoran meets the Dimensional Witch, Yūko Ichihara, to whom he begs for help to save Sakura. Yūko is also visited by two others who each have their own wish: Kurogane, a ninja who wishes to return to his home world after being banished from his world by Princess Tomoyo to allow him to learn what true strength is; and Fai D. Flowright, a magician who wishes to never return to his home world, Celes to avoid his king, Ashura-ō. In exchange for the ability to travel across dimensions, Yūko demands that each pay with that they value most: Kurogane offers his sword Ginryū; Fai offers the tattoo that suppresses his enormous magical strength and power; and Syaoran offers all of Sakura's memories that involve him. Yūko then presents them with a creature named Mokona Modoki that sends the group on a journey across dimensions in search of Sakura's feathers. After obtaining the first feathers, Sakura awakens from her catatonic state and starts recovering her memories. During their adventures, the group gradually grows closer to the point that Fai jokingly labels them as relatives. As they travel, they learn that the feathers have their own unique abilities and can bestow several supernatural abilities to those who possess them.

During their journey in Tokyo, the group discovers that Syaoran is in reality a clone imbued with half the heart of the original Syaoran. Several years ago, Fei-Wang Reed, the wizard who caused Sakura to lose her memories, took the original Syaoran prisoner and created the clone to collect Sakura's feathers. Shortly after the original Syaoran breaks free of Fei-Wang's hold, the clone loses his heart and becomes an emotionless puppet that follows Fei-Wang's will, betraying the group. The original Syaoran joins in the group's journey with Sakura wishing to save the clone. Foreseeing a future in which Fai kills the original Syaoran forced by Fei-Wang's curse, Sakura gets stabbed in his place, but at the same time splits her body and soul, sending each to different worlds, Seresu and the Dream World, respectively. In the Dream World, the Syaoran clone destroys Sakura's soul when trying to get the feathers. Before her soul perishes, Sakura reveals that she too is a clone of the original Sakura who was also taken prisoner by Fei-Wang. Fei-Wang then takes Sakura's body to use its stored power. The group departs to rescue the two Sakuras learning from Yūko that Fei-Wang is in an alternate dimension from the Kingdom of Clow. Such parallel dimension is the result of Syaoran's wish to save the original Sakura from Fei-Wang's curse years ago. In order to grant his wish, Syaoran became Fei-Wang's prisoner and Yūko's assistant, Kimihiro Watanuki, was used to replace Syaoran within his original world's history.

The group battles Fei-Wang who destroys the Syaoran clone when he betrays him. He then uses the immeasurably strong ability and strength of the two Sakuras to resurrect Yūko, accidentally frozen in time by Clow Reed himself to halt her death, therein proving himself Clow's superior. Yūko uses her life and Clow's magic as payment to make the clones reborn in the past to live together. As the two know all of the series' events would repeat, the clones seal themselves in Yūko's shop until the battle against him. The group manages to kill Fei-Wang, who traps Syaoran in a void between time and space, dragging both his clone and Watanuki along as a consequence of their connection. With their creator's death, both clones of Sakura and Syaoran fade away leaving behind two feathers. Syaoran and Watanuki escape from the void for a price: Syaoran must continue traveling through the dimensions forever, while Watanuki must stay in Yūko's shop. The group rests in the Kingdom of Clow where Fai, Kurogane, and Mokona decide to join Syaoran once again in hope of finding a way to bring back the clones who still exist as the two feathers. Before departing on their separate ways, Syaoran and Sakura confess their mutually strong, close and pure romantic love for each other, as well as their shared real name, Tsubasa, as they hope to meet again.

Production
Tsubasa: Reservoir Chronicle began with an inspiration of the four-member team, Clamp, to link their works set in a realistic world with their works set in different fantasy worlds. Prior to beginning work on Tsubasa: Reservoir Chronicle, Clamp had created the manga Cardcaptor Sakura, from which the two main characters are taken. Clamp decided to draw Tsubasa: Reservoir Chronicle by using a style first conceived by Osamu Tezuka, named the "father of manga" and often credited as the "father of anime", known as Osamu Tezuka's Star System. In this system, characters with the same name and design are used in different settings, drawing mostly from the vast character pool of its own works and occasionally from others' works. Unlike characters under the Star System, three months prior to the release of Tsubasa: Reservoir Chronicle, the Young Magazine began serializing Clamp's xxxHolic, a manga whose two main characters, Kimihiro Watanuki and Yūko Ichihara, are two of the same characters used in Tsubasa: Reservoir Chronicle; both series run in parallel. Like many of their other works, each member of Clamp had a role different from their other projects instead of retaining set roles. For Tsubasa: Reservoir Chronicle, Mokona drew the main characters, whereas Tsubaki Nekoi and Satsuki Igarashi drew the side characters and backgrounds; Nanase Ohkawa was the sole person in charge of the storyline; the other members of Clamp were not told in advance how the plot would unfold. The word "Tsubasa" was used so that the title would be easy to read. However, believing "Tsubasa" only would be too short, they added the words "Chronicle" and "Reservoir" from Nekoi's notes.

A special interview with Ohkawa and Kiichiro Sugawara, Clamp's editor from the Weekly Shōnen Magazine's Editorial Department, took place after the story of Tsubasa: Reservoir Chronicle had progressed past the arc from Ōto Country. Ohkawa has stated that the group is very conscious of the fact that Tsubasa: Reservoir Chronicle is the title in Shōnen Magazine with the youngest readership and that it is their very first foray into the shōnen demographic. Thus, the members of Clamp ensure that they employ a drawing style and dialogue appropriate for young male audiences; the manga incorporates furigana that makes reading Japanese easier. To aid in this effort, the group holds conferences with Sugawara where they discuss the plot. Ohkawa stated during the interview that the only time the story significantly changed was during Country of Jade arc; It went from a "horror story with vampires" to a "detective mystery". Following the story in the Piffle Country, Clamp aimed to make the series darker and more complex, resulting in it receiving elements previously seen in other of their series. The Shura Country's story was written to introduce the idea that a dead person cannot be revived even if somebody travels back to the past and changes history. This theme would be further explored later in the story.

The members of Clamp had some difficulty adjusting from their typical style after deciding to publish with Weekly Shōnen Magazine. Because their typical thinner lines did not give the desired impact, Ohkawa expressed the group's desire to make their lines thicker, and to use simpler layouts similar to the other stories already present in Shōnen Magazine. She stated that they used their original artistic style to attract initial readers and then slowly transitioned to a new style. Sometime around when the story arc focused on the Country of Ōto took place, their art style had gradually been changing again; at this point they were thinking of returning to their original style. They were still adjusting to a weekly schedule; many of their previous works were on a monthly schedule. Sugawara expressed concerns about the strain on the artists of concurrently doing a weekly issue of Tsubasa: Reservoir Chronicle linked with xxxHolic, but in the end he whole-heartedly approved. In accordance with Ohkawa's desire for each to have a well-organized story, Clamp avoids putting references between the two stories too frequently. The main idea was connecting these two series was to have protagonists from two different manga with different personalities and designs. However, during the ending they would be stated to share the same existence, and had to go on different paths. As Tsubasa is connected with xxxHolic, the characters' designs are also meant to be similar; Like xxxHolic, the artwork is sometimes influenced by Ukiyo-e art style which leads to the characters have longer limbs. When asked if another series influenced Tsubasa in the concept of parallel worlds, Ohkawa replied that she was not a fan of sci-fi series and pointed that all worlds shown in the series were other works from Tsubasa. At the same time, she wanted to segregate Tsubasa from previous works. She also explained that while some characters are the same, their traits and personalities were modified due to different backstories.

When thinking about including character goods with the volume releases, Sugawara came up with the atypical idea of releasing a deluxe and normal edition of the manga after contemplating the inconsistency of novels getting both a soft-cover and hard-cover release, but manga only received one version. Because it was a new concept, the group experienced several mishaps such as accidentally placing a vertically flipped illustration on the first deluxe edition. The group also decided to use another atypical practice of keeping catchphrases that appeared in the magazine identical to the ones that appear on the frontispieces of the deluxe editions.

Themes
Tsubasa explores the fragility of human relationships through Sakura losing all of her memories involving her love interest, Syaoran. Despite this tragedy, Syaoran manages to become friends with other characters across his journey. Furthermore, Sakura once again develops feelings for Syaoran who at the same time starts falling for her again. The development of the characters' relationship demonstrates how while modern society depends on already existing one, a severed one can be reformed if people have the will. At the same time, Syaoran has to say goodbye to the people he met as a result of having to continue travelling. Despite also losing these newfound friends, these actions will help Syaoran grow into a young man. Based on the shōjo manga character Syaoran Li, the initial Syaoran from the series was written to be a shōnen manga lead instead. As a result, the narrative places emphasis on his friendships as he obtains new powers while retaining a kind demeanor. Although the series is a shōnen manga, Clamp incorporates shōjo manga motfifs into the character to attract a female demographic, with his desire to recover the magic feathers of Sakura being a common element of shōjo manga. The angel-like feathers and multiple outfits serve as a mean to appeal to the female demographic while the ending exploring the characters named Tsubasa serve as major symbolism about romantic relationships.

Another theme in the series is the use of identical people as a result of the characters travelling to parallel worlds where they find alternative versions of people they met before. Despite sharing the same physical appearances, these identical versions have been through different experiences earning their own identities. Syaoran also has his own doppelgänger commonly referred as "The Other Syaoran" who at the same time shares the same identity as the protagonist from xxxHolic, Kimihiro Watanuki. Across the series, these character are developed and choose their own paths to earn their own identities. The exploration of cloning in Tsubasa becomes a major theme in the narrative despite Syaoran and Sakura being identical to their original personas, they have different identities that the audience is given as a reward to explore.

Manga

Written and illustrated by Clamp, Tsubasa: Reservoir Chronicle was serialized in Japan in Kodansha's Weekly Shōnen Magazine between May 21, 2003, to October 7, 2009. Its 233 chapters, which are called "Chapitre" (シャピトル), French for "Chapter", have been compiled into twenty-eight tankōbon volumes by Kodansha, with the first volume released on August 9, 2003, and the last one on November 17, 2009. All the volumes were also released in deluxe editions containing color pages and new illustrations at the same time as the original release.

In June 2014, Kodansha's Magazine Special announced a new manga of Tsubasa would start serialization in August that year and that it would be connected to xxxHolic Rei. Titled Tsubasa: WoRLD CHRoNiCLE, the series has also been licensed by Kodansha USA for English release. A single chapter was also serialized in the Weekly Shōnen Magazine in February 2015.

Tsubasa was one of the first four manga series licensed for English release in North America by Del Rey Manga and was acquired together with Mobile Suit Gundam SEED, Negima! Magister Negi Magi, and xxxHolic in January 2004. Del Rey released the first volume of the series on April 27, 2004, and the last one on November 23, 2010. Kodansha USA is due to re-release it in omnibus format during 2014. Tanoshimi, the United Kingdom branch of Random House, published the first 14 volumes as published by Del Rey in the United Kingdom, between August 3, 2006 and June 5, 2008.

Anime series
The animation studio Bee Train adapted the manga series into a two-season anime television series Tsubasa Chronicle (ツバサ･クロニクル) spanning fifty-two episodes in total. Both seasons were written by Hiroyuki Kawasaki and directed by Kōichi Mashimo, with Hiroshi Morioka joining on as co-director for the second season. The music for the series was composed by Yuki Kajiura. The first season aired Saturday nights at 18:30 on NHK-E from April 9, 2005, to October 15, 2005, and spanned 26 episodes. The second season began on April 29, 2006, at 18:30 and concluded on November 4, 2006; it spanned twenty-six episodes. In Japan, Bandai Visual released the series across fourteen Region 2 DVD compilation volumes between August 26, 2005, and February 23, 2007. Two DVD box sets were then released on October 26, 2011 and November 25, 2011.

Funimation licensed both seasons under the title Tsubasa: Reservoir Chronicle for English-language release January 2006. They released the TV series in North America across twelve Region 1 DVD compilation volumes. Funimation released the DVDs in two collections, where each contains six of the DVDs together in a box set, on November 11, 2008, and December 29, 2009. A DVD box with the first season and the film was released on January 19, 2010. It was re-released in Blu-ray format on May 4, 2010, in a package that also included the anime's second season. Funimation also released the first season of Tsubasa: Reservoir Chronicle in the United Kingdom through Revelation Films beginning on September 17, 2007, across six Region 2 DVD compilation volumes. The English dub of the first season was broadcast on the Funimation Channel in the United States. Revelation Films had previously confirmed the release of the second season of Tsubasa Chronicle in the U.K., although no release dates were ever set.

Theatrical film
A film interlude, Tsubasa Reservoir Chronicle the Movie: The Princess in the Birdcage Kingdom, was adapted by the animation studio Production I.G and premiered in Japanese theaters on August 20, 2005, in conjunction with xxxHolic: A Midsummer Night's Dream, between the two seasons of the anime series. Its plot continues the journey from Syaoran's group for Sakura's feathers. They locate one at the Country of Birdcages, where they have to confront the world's king in order to obtain it. It was directed by Itsuro Kawasaki and written by Midori Goto and Junichi Fujisaku. Character designs were provided by Yoko Kikuchi, and music was by Yuki Kajiura. Clamp artist Ageha Ohkawa liked how both films were connected, despite that both have different themes. Shochiku released the DVD for the film on February 25, 2006, in Japan in both regular and premium editions. Funimation released the film on a single DVD in English on February 19, 2009, in North America as a double feature with the xxxHolic film. It was released alongside a DVD box of the anime's first season on January 19, 2010. It was re-released in Blu-ray format on May 4, 2010, in a package that included the anime's second season.

Original video animations
Two original video animation (OVA) series were animated by Production I.G. They were directed by Shunsuke Tada and written by Nanase Ohkawa, with music provided by Yuki Kajiura. A three-episode OVA series titled Tsubasa Tokyo Revelations (ツバサ TOKYO REVELATIONS) was released between November 16, 2007, and March 17, 2008, across three DVDs bundled with limited versions of volumes 21, 22, and 23 of the manga. Their plot is set after the anime's ending, and follows the arrival of Syaoran's group in a postapocalyptic Tokyo, where the connection between Syaoran and a teenager identical to him is revealed. A two-episode OVA series titled Tsubasa Spring Thunder Chronicles (ツバサ春雷記) was released across two DVDs. The first was packaged with volume 26 of the manga, which was released on March 17, 2009; and the second was packaged with volume 27, released on May 15, 2009. They are set after the characters' journey to Seresu as they search for a way to make Sakura's soul return to her body. In May 2010, Funimation announced they licensed both series of OVAs. They were released together under the title of "Tsubasa: RESERVoir CHRoNiCLE - OVA Collection" in both DVD and Blu-ray formats on January 4, 2011. In June 2011, Funimation started streaming the five episodes on their official website.

Audio CDs
The original soundtrack for the anime was released in four soundtrack albums titled Future Soundscape I~IV. They were released by Victor Entertainment for the anime from July 6, 2005, to September 21, 2006, each in a normal and a limited edition that featured additional merchandise. Additionally, a compilation album titled Best Vocal Collection was released on December 20, 2006, that collected fourteen vocal tracks from the anime. Each release charted on the Oricon charts, and the highest ranking album, Future Soundscape I, peaked at 39th and remained on the charts for three weeks.

Ten music albums have been released, and each contains a single piece of theme music for the various adaptations. For the anime adaptation Tsubasa Chronicle, four maxi singles titled Loop, Blaze, It's, and Kazemachi Jet / Spica were released between May 10, 2005, and July 14, 2006. For the anime film Tsubasa Chronicle the Movie: The Princess of the Country of Birdcages, two maxi singles titled Aerial and Amrita were released on August 17, 2005, and on August 18, 2005. For the OVA adaptations, two maxi singles and two studio albums titled Synchronicity, Saigo no Kajitsu / Mitsubashi to Kagakusha, Kazeyomi, and Everlasting Songs were released between November 21, 2007, and February 25, 2009. All of the releases charted on the Oricon charts, with the highest ranking single being Loop, which peaked at 7th and remained on the chart for nine weeks.

Victor Entertainment released a series of three drama CDs titled "The Matinée of the Palace", based on the anime adaptation featuring the same voice actors. The first, subtitled Chapter.1 ~Coral, the City on the Water~, was released on December 16, 2005. Chapter.2 ~Impossible Goal~ followed on February 1, 2006. The final CD, subtitled Chapter.3 ~Unspeakable Lines~, was released on March 24, 2006. All of the releases charted on the Oricon charts, with the highest ranking album being Chapter.2 ~Impossible Goal~, peaking at 161st and remaining on the chart for a week. A spin-off series of four drama CDs titled "Private High School Holitsuba" have been released between 2006 and 2009, and has also had a one-chapter manga adaptation. Set in an alternate universe, the series features characters from Tsubasa and xxxHolic as students and teachers from the fictional school "Holitsuba".

Video games
A video game titled Tsubasa Chronicle (ツバサクロニクル) developed by Cavia, based on the anime adaptation of the same name, was released in Japan for the Nintendo DS on October 27, 2005, by Akira. Tsubasa Chronicle is a role-playing game whose gameplay requires the player to navigate the world as Sakura and Syaoran in search of Sakura's memory fragments. Players can compete with each other wirelessly. A sequel titled Tsubasa Chronicle Volume 2 (ツバサクロニクル Vol.2) was released on April 20, 2006, again for the Nintendo DS and shares various gameplay traits with Tsubasa Chronicle.

Art and fanbooks
Two different fanbooks have been released for the anime of Tsubasa: Reservoir Chronicle. Kodansha released two in Japan by between 2005 and 2006 that contain character illustrations and information, a collection of the theme song videos, and interviews with the voice actors. The first book published was TV Animation Tsubasa Chronicle Official Fanbook (TV ANIMATION ツバサ･クロニクル OFFICIAL FANBOOK) on May 17, 2005. The second book published was TV Animation Tsubasa Chronicle 2nd Season Official Fanbook (TV ANIMATION ツバサ･クロニクル 2nd SEASON OFFICIAL FANBOOK) on June 16, 2006. DH Publishing released one in English on May 25, 2008, titled Tsubasa Chronicle Factbook: Mystery, Magic and Mischief, the eighteenth of the Mysteries and Secrets Revealed! series of books. In Japan, Kodansha will release another guidebook on December 31, 2016.

Three different artbooks which contain illustrations have been released in Japan by Kodansha between 2006 and 2009. The first book published was TV Animation Tsubasa Chronicle Best Selection (TV ANIMATION ツバサ･クロニクル BEST SELECTION) on April 17, 2006, bearing an ISBN 978-4-06-372138-6. The second book published was Tsubasa Original Illustrations Collection –Album De Reproductions- (ツバサ原画集-ALBuM De REProDUCTioNS-) on April 17, 2007, and containing art from the first 14 volumes. An English version of ALBuM De REProDUCTioNS was released on December 8, 2009. This contained one of the short stories titled Tsubasa: World of the Untold Story that also featured as omake to the manga volumes. Another artbook, Tsubasa Original Illustrations Collection –Album De Reproductions- 2 (ツバサ原画集-ALBuM De REProDUCTioNS- 2), was released on November 17, 2009, containing art from the final 14 volumes.

Two character guides were released by Kodansha in Japan and then translated and released in North American by Del Rey Manga. They contain overviews of the worlds, overviews of characters, fan reports, illustrations, and interviews. The Tsubasa: Reservoir Chronicle Character Guide (ツバサ CARACTere GuiDE) was released on April 15, 2005, covering events from volume 1 to volume 7. It was released in English on December 26, 2006. The Tsubasa: Reservoir Chronicle Character Guide 2 (ツバサ CARACTere GuiDE 2) was released on October 17, 2006. It was released in English on October 13, 2009. Another related book is Soel and Larg: The Adventures of Mokona Modoki (ソエルとラーグ―モコナ = モドキの冒険) which was released by Kodansha on July 17, 2004. It is set prior to the events of xxxHolic and Tsubasa and tells the lives from the two Mokona Modoki ever since their creation by Clow Reed and Yūko Ichihara.

There are two guidebooks focused in the soundtrack used in the anime adaptation of Tsubasa: Reservoir Chronicle that were published in Japan by Kodansha. The first one, Tsubasa Chronicle Piano Solo Album (楽しいバイエル併用 ツバサクロニクル ピアノソロアルバム), was released on August 30, 2005, and focused on piano sheet music for tracks from the series' soundtrack album bearing an ISBN 978-4-28-510386-1. The second one, Tsubasa Chronicle Piano Solo Album 2 (楽しいバイエル併用 ツバサクロニクル ピアノソロアルバム オープニング・エンディング・劇中曲を収載!!), ISBN 978-4-28-510885-9 was published on July 24, 2006, and it had piano sheet music for several soundtracks.

Manga
The Tsubasa: Reservoir Chronicle manga series was well received by Japanese readers, and appeared at various times on lists of best-selling volumes. In September 2009, it was announced that the first 27 volumes had sold over 20 million copies in Japan, becoming one of Clamp's best selling titles. In its debut, the first volume of World Chronicle sold 127.643 units. After the first volume's English release on April 27, 2004, it sold 2,330 copies in May 2004, placing it at the top end of the top 100 sales of that month. It was fifth on Waldenbooks's 2004 list, obtaining the highest place ever by a manga volume. It was consistently ranked in the top 10 of the list of Manga Top 50 for every quarterly release of the "ICv2 Retailers Guide to Anime/Manga", based on sales from both mainstream bookstores and comic book shops, since its release in May 2004, except for the fourth quarter of 2007, reaching a top rank of number 3. By November 2006, over a million manga volumes from the series had been sold in North America by Del Rey Manga. The series was also listed as the nineteenth best-selling manga from North America in 2010 by ICv2. In the Society for the Promotion of Japanese Animation Award from 2009, Tsubasa: Reservoir Chronicle was the winner in the category "Best Manga - Action". About.com placed it twenty-ninth in their article "36 Great Manga Missed by the Eisner Awards", while the artbook Tsubasa ALBuM De REProDUCTioNS was third in their 2009 poll "Best Manga Book". In Mania Entertainment's "Best Manga Awards For 2005", Tsubasa was third in the category "Best Shōnen". It was a nominee for the American Anime Awards in 2007, but was one of the last series announced due to an error made by the people in charge.

Tsubasa: Reservoir Chronicle was fairly well received by reviewers, who described it as a treat for Clamp fans due to the large number of crossover characters in the series. Initial fan response to Tsubasa: Reservoir Chronicle was that it was "Cardcaptor Sakura for guys". Fans speculated that the series would conclude one of Clamp's unfinished series, X, or that it would be a sequel to Cardcaptor Sakura that focused on the character Syaoran Li. Critics described the series as being marked by several plot twists, with About.com writer Katherine Luther labelling it as "perhaps the "twistiest" of twists that we have seen in anime and manga in quite some time". For the earlier half of the series, Mikhail Koulikov from Anime News Network described the series as settling into a "predictable pattern" that Melissa Harper, also from Anime News Network, described as somewhat slow, and "frankly a bit boring". However, Michael Aronson from Manga Life found the series appealing and accessible to readers who have not read other Clamp series, and he hoped it would remain this accessible for following volumes. He found that the relation between Tsubasa: Reservoir Chronicle and xxxHolic would persuade readers to also read the latter series. Mania Entertainment's Megan Lavey found the introduction to be a "pretty simple love story", while liking the characters' personalities. She liked how the series was connected with xxxHolic and hoped that both series would continue crossing over. In a general overview of the manga, Julie Gray from Comic Book Bin gave positive remarks to the characters' complex personalities and how the plot has been developed throughout its first ten volumes. She recommended that people should buy the series. Active Anime's Blake Waymire found that the change of settings was well done, and he noted how some story arcs could go from dramatic to charming.

From volume 15 onwards, Clamp unleashed a series of "mind-blowing" plot twists that had been foreshadowed frequently throughout the series. These twists have been described by Anime News Network as "stunning" but confusingly executed due to the sheer number of storylines coming together. Other critics praised the pacing as letting "the story progress at its own natural momentum", keeping the reader "from being bored by any one literary genre". The plot twists and the ever-changing relationships between the manga's main characters were praised; "few manga creators could pull off this sort of outrageous storytelling stunt". Active Anime writer Holly Ellingwood called the plot twists as "the most shocking set of events in the Tsubasa Reservoir Chronicles to date!", finding that despite such twists, more secrets were brought to readers to persuade them to read the following volumes. Ellingwood also reviewed following volumes and found the last plot revelations intriguing; she enjoyed that a strong connection is revealed between characters from Tsubasa and xxxHolic. Comic Book Resources regarded the ending of the series as bittersweet homage to Cardcaptor Sakura due to the clones disappearing and the original Syaoran separating from Sakura despite confessing their mutual love. Manga News praised the ending for the heavy focus on the clones of Syaoran and Sakura, giving emotional scenes as well and their relationship Yuko and Fei-Wang Reed but lamented Fai and Kurogane had less prominent roles.

Critics have described the artwork as "keeping up the standards expected of Clamp" with its high level of detail, though perhaps too much detail, especially during action sequences. The artstyle is "stylish" and "dynamic", characterized by a large number of "sweeping lines curlicues that look unlike anything else in the genre" that help bring the action scenes to life for exciting experiences. Ed Sizemore from Comics Worth Reading highlighted the fact that each dimension that the protagonists visit is characterized by its very own look and feel so that "no two worlds are even remotely similar". However, the amount of detail and lack of contrast, while beautiful, often render scenes incomprehensible to the point where the reader is left guessing who is attacking. Critics have praised Del Rey's inclusion of English translation notes that aid in understanding the plot, especially due to its crossover nature. Lavey found the translation a "good read", liking how some Japanese words were not translated and instead explained in notes. The handling of fight scenes, most notably Syaoran's, was highly praised. Paul Price lists both Tsubasa series as examples of isekai in "A Survey of the Story Elements of Isekai Manga" for the Journal of Anime and Manga Studies, describing them as "immersive", examples of isekai where there is no portal between worlds and all the action takes place in fantastical other worlds rather than the real world.

Anime
Critics have described the anime adaptation as having a very slow pace but having a beautiful musical score. Carl Kimlinger from Anime News Network faulted the director, Koichi Mashimo, for "downshifting the plot's energy" and as having "too many flashbacks, too many slow pans over inexpressive eyes", that create an end-product that is "tediously formulaic". Active Anime's Christopher Seaman had mixed feelings, finding the romantic themes mature and the magical themes appealing to younger audiences; he concluded that "teens would get the most out of the series." He recommended the series in general, praising its plot and its themes. DVDTalk's Todd Douglass Jr. ranked the anime DVD box as "Highly Recommended"; he liked how, despite borrowing elements from other series, it was "entirely self-contained". Douglas pointed out that following its second season, the anime kept entertaining viewers, and felt they would not find a reason to dislike it. Douglas enjoyed the anime's storytelling. He liked its characters, but found it sometimes dragging due to its episodic nature. Kimlinger praised the musical score as being beautiful, as Yuki Kajiura's work has always been. Chris Beveridge from Mania Entertainment made similar comments, praising the series' score and animation, while commenting on the series' accessibility. He said that people unrelated with Clamp's works would like Tsubasa, in contrast to other people who would "get out of the series". Its episodic nature was praised by Luther, who commented how the main plot was connected to each of the story arcs. The English cast for the anime has been labelled as "done and very solid". IGN's Jeffrey Harris felt Christopher Sabat was its best actor. Harris called the anime "a nice looking and at times elegant looking show", pointing to the traits of the main characters. He criticized the lack of extras in the DVDs releases. Reviewing the anime's and xxxHolic's films, IGN writer N.S. Davidson said the Tsubasa film would be appealing to viewers of the series, despite its short length. He liked how both films' storylines interacted, allowing parts of the plot of Tsubasa to be explained in the xxxHolic film, and he found artistic similarities between the two films. Carlo Santos was more critical of the film but still called it "good art". In a TV Asahi poll, Tsubasa: Reservoir Chronicle was ranked as the fifty-ninth most popular anime in Japan. It ranked ninth in Animage's Anime Grand Prix anime popularity poll from 2005, while it was also listed as an "Honorable Mention" in IGN's "Top Ten Anime of 2007" feature.

Although the Tsubasa OVAs were not the first original animation DVDs (OADs), OVAs published with manga volumes, its release helped to popularize the term. Chris Beveridge from Mania Entertainment considered the OVAs to have better quality than the TV series, mainly because they were developed by Production I.G instead of Bee Train and because they have a darker storyline. In a further review, Beveridge found fascinating the events occurring in the OVAs due to the number of revelations changed the way people viewed the series. The character designs were felt to be more similar to the manga's ones than the TV series, while the animation has been considered "a notch above that of standard Television". The themes were noted to be more mature both brutally and mentally; although the number of changes presented throughout them has been praised, another series of OVAs that would conclude the storyline built in the last episode from Spring Thunder Chronicles has been requested by reviewers.

title: Tsubasa: Reservoir Chronicle


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User:Cooltude

Hello. My name is Eric MacDonald and I live in Manchester, New Hampshire USA.

My website is located here.

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

title: User:Cooltude


text:
Palmchat

The palmchat (Dulus dominicus) is a small, long-tailed passerine bird, the only species in the genus Dulus and the family Dulidae endemic to the Caribbean island of Hispaniola (split between the Dominican Republic and Haiti). It is related to the waxwings, family Bombycillidae. Its name reflects its strong association with palms for feeding, roosting, and nesting.

The palmchat is the national bird of the Dominican Republic.

Taxonomy
In 1760 the French zoologist Mathurin Jacques Brisson included a description of the palmchat in his Ornithologie based on a specimen collected from the French colony of Saint-Domingue, modern Haiti. He used the French name Le tangara de S. Dominigue and the Latin Tangara Dominicensis. Although Brisson coined Latin names, these do not conform to the binomial system and are not recognised by the International Commission on Zoological Nomenclature. When the Swedish naturalist Carl Linnaeus updated his Systema Naturae for the twelfth edition in 1766, he added 240 species that had been previously described by Brisson, with one of them being the palmchat. Linnaeus included a brief description, coined the binomial name Tanagra dominica and cited Brisson's work.

The palmchat is the only species placed in the genus Dulus that was introduced by the French ornithologist Louis Pierre Vieillot in 1816. The species is monotypic.

Description
Palmchats are about 20 cm in length. They are olive-brown above, and heavily streaked with brown below. Their rumps, as well as the edges of their primary feathers, are dark yellow-green. They have strong yellow bills and russet eyes. They lack the soft silky plumage of the waxwings or silky-flycatchers. Adults show no sexual dimorphism; immature birds have dark throats.

Distribution and habitat
The species is endemic to the island of Hispaniola (in both Haiti and the Dominican Republic), and the adjacent Saona and Gonâve Islands, where it is common and widespread. It inhabits areas from sea level to 1500 m asl where palm savannas can be found, or other open areas with scattered trees. Where its food trees are present, it has adapted well to city parks and gardens.

Behaviour
Palmchats are very sociable birds, often seen in small flocks containing several pairs, which will roost closely together with their bodies in contact.

Breeding
The breeding season is mainly from March to June. The birds build large, messy, communal nests of twigs in the crowns of palms (mainly Puerto Rico royal palms, Roystonea borinquena). Occasionally, in the absence of palms, other trees or even telephone poles may be used. The whole nesting structure may be up to 2 m across, containing up to 30 adjoining nests with their own separate chambers and entrances. The females lay clutches of 2-4 thickly spotted, grey-purple eggs.

Food
Palmchats feed on fruits and berries, including those of palms and of the gumbo-limbo tree, as well as on flowers, especially those of epiphytic orchids.

Voice
They are voluble and noisy birds, with a large repertoire of gurgling and cheeping sounds constantly used in their social behaviour. With their loud whistles, they are able to imitate the calls of hawks and kestrels which may be a surprise coming from their tiny bodies. They are typically classified as song birds, but hardly ever make a coherent song.

Conservation
The palmchat is a common species within its range of about 75000 km², and highly adaptable. As it is not approaching the thresholds for the population decline criterion of the IUCN Red List (i.e., declining more than 30% in ten years or three generations), it has been evaluated as being of Least Concern.

title: Palmchat


text:
Campbell County, Georgia

Campbell County was a county of the U.S. state of Georgia from 1828 to 1931. It was created by the state legislature on December 20, 1828, from land taken from Fayette, Coweta, and Carroll counties, and from the half of DeKalb County which became Fulton County soon afterward. Georgia's Cherokee Land Lottery of 1832 also added to the county. The county was named for Duncan G. Campbell, one of the U.S. commissioners responsible for the Treaty of Indian Springs.

The original county seat was Campbellton. When the Atlanta and West Point Railroad began to plan its route, the town's residents said no due to noise concerns, and the tracks were laid through Fairburn instead, which flourished while Campbellton died out, and Fairburn became the county seat in 1870. The Campbell County Courthouse is listed on the National Register of Historic Places.

The northwestern half of Campbell (and a bit more of Carroll) became Douglas County in 1870, divided on October 17 at the Chattahoochee River. The remainder of Campbell County was ceded to Fulton County at the end of 1931, along with Milton County, after Campbell County went bankrupt. The legislation creating the merger was enacted on August 9, 1929, with Milton being added to the process in 1931.

title: Campbell County, Georgia


text:
The Love Bug

The Love Bug (also known as Herbie the Love Bug) is a 1969 American sports adventure comedy film directed by Robert Stevenson from a screenplay by Bill Walsh and Don DaGradi, based on the story "Car, Boy, Girl" by Gordon Buford. The film is the first installment in the Herbie film series.

The film follows the adventures of a sentient Volkswagen Beetle named Herbie, Herbie's driver, Jim Douglas (Dean Jones), and Jim's love interest, Carole Bennett (Michele Lee). It also features Buddy Hackett as Jim's enlightened, kind-hearted friend, Tennessee Steinmetz, a character who creates "art" from used car parts. English actor David Tomlinson portrays the villainous Peter Thorndyke, the owner of an automobile showroom and an SCCA national champion who sells Herbie to Jim and eventually becomes his racing rival.

The Love Bug was followed by Herbie Rides Again (1974).

Plot
Race car driver Jim Douglas has been reduced to competing in demolition derby races against drivers half his age. Jim lives in an old fire house overlooking San Francisco Bay with his friend Tennessee Steinmetz, a claimant of Buddhist enlightenment, who is a mechanic and sculptor who uses old car parts. At an upmarket European car showroom, Jim meets mechanic/sales assistant Carole Bennett, and the dealership's British owner, Peter Thorndyke, who abuses a white Volkswagen Beetle which had been returned to the showroom that morning. Lacking money, Jim leaves Thorndyke's showroom, but the Beetle follows him home. After a police run-in on charges of grand theft, Jim agrees to lease-purchase the little car.

At first, Jim does not take kindly to the Beetle's reluctance to take the freeway and later pairing him with Carole, and suspects Thorndyke has conned him with a faulty car. However, Tennessee realizes the car has a mind of his own and befriends him, naming him "Herbie".

Jim prepares Herbie for racing, and to the astonishment of Thorndyke, Herbie wins his first race. Jim and Herbie then defeat Thorndyke himself in a race at Riverside Raceway, giving Jim full ownership of Herbie, and go on a winning streak, leaving Thorndyke frustrated as to how Jim and Herbie are achieving their success. Thorndyke infiltrates Tennessee's garage the night before their next race while Jim and Carol are on a date, and sabotages Herbie by pouring Irish coffee into his gas tank, causing Herbie to fail to finish the race the following day. A disgusted Jim, with his eyes now on the upcoming El Dorado road race, decides to switch out Herbie for a brand new Lamborghini 400 GT, much to the anger of Carole (who quit her job in Thorndyke's showroom in protest) and Tennessee. Jealous and upset at Jim's treatment, Herbie damages the Lamborghini and runs away. Depressed, he allows himself to be captured by Thorndyke, only to flee when the latter orders his men to disassemble him.

Finally realizing that Herbie is alive, Jim follows Herbie as he leaves a trail of damage through the city. He finds Herbie trying to throw himself off the Golden Gate Bridge and risks his life to talk Herbie down, and they make amends. At the police station, Tang Wu (Benson Fong), a Chinese-American businessman whose store had been damaged by Herbie, offers to drop the damage charges in exchange for ownership of Herbie after revealing himself to be a racing fan. Jim and Tennessee accept Wu's offer, provided they drive Herbie in the El Dorado; Wu agrees to sell Herbie back to Jim for a dollar should they win.

The El Dorado, a two-day, out-and-back open road race, runs through the Sierra Nevada mountains from Yosemite Valley to Virginia City and back. On the first leg, Thorndyke and his co-driver Havershaw carry out a series of dirty tricks against Herbie. As a result of Thorndyke's shenanigans, Jim (with Carole and Tennessee as co-drivers) limps home last with Herbie missing two wheels and having to use a wagon wheel to reach the line. During overnight repairs, Herbie refuses to restart, and Wu reveals that he also made an agreement with Thorndyke over ownership of Herbie should they lose. After Thorndyke attempts to tow Herbie away and assaults Jim, Herbie restarts and chases a frightened Thorndyke off.

The following day, Herbie starts the second leg last, but thanks to some ingenious shortcuts, they are able to make up for lost time. Approaching the finish, Herbie succumbs to metal fatigue and breaks in two, his back half (carrying Tennessee and the engine) crossing the line just ahead of Thorndyke, while the front (carrying Jim and Carole) rolls over the line just behind, meaning Herbie takes both first and third places. As part of the agreement regarding Herbie, Wu takes over Thorndyke's car dealership, hires Tennessee as his assistant, and demotes Thorndyke and Havershaw to the mechanics' shop. Rewelded back into shape, Herbie chauffeurs the newlywed Jim and Carole away on their honeymoon.

Cast

 * Dean Jones as James "Jim" Douglas, a racing driver
 * Michele Lee as Carole Bennett, a mechanic and Jim's love interest
 * David Tomlinson as Peter Thorndyke, the owner of the car shop
 * Buddy Hackett as Tennessee Steinmetz, Jim's friend and roommate
 * Joe Flynn as Havershaw, Thorndyke's right-hand man
 * Benson Fong as Tang Wu, Jim's friend and team supporter
 * Joe E. Ross as Detective
 * Barry Kelley as Police sergeant
 * Iris Adrian as Carhop
 * Gary Owens as Announcer
 * Chick Hearn as Announcer
 * Andy Granatelli as Association President
 * Ned Glass as Toll Booth Attendant
 * Robert Foulk as Bice
 * Gil Lamb as Policeman at Park
 * Nicole Jaffe as Girl in Dune-Buggy
 * Wally Boag as Flabbergasted Driver
 * Russ Caldwell as Boy Driving Dune-Buggy
 * Peter Renaday as Policeman on Bridge
 * Brian Fong as Chinese carrying Herbie
 * Pedro Gonzalez Gonzalez as Mexican Driver
 * Dale Van Sickel as Driver
 * Fred Stromsoe as Driver

Story and development
Dean Jones credited the film's success to the fact that it was the last live-action film produced by Walt Disney Productions under Walt Disney's involvement, released just two years after his death in 1966. Although Jones tried to pitch him a serious, straightforward film project concerning the story of the first sports car ever brought to the United States, Walt suggested a different car story for him, which was "Car, Boy, Girl", a story written in 1961 by Gordon Buford.

Car, Boy, Girl; The Magic Volksy; The Runaway Wagen; Beetlebomb; Wonderbeetle; Bugboom and Thunderbug were among the original development titles considered for the film before the title was finalized as The Love Bug.

Herbie competes in the Monterey Grand Prix, which, except for 1963, was not a sports car race. The actual sports car race held at Monterey was the Monterey Sports Car Championships. The 1968 Monterey Grand Prix was in fact a Can Am Series race and did not feature production cars.

Peter Thorndyke's yellow "Special" is actually a 1965 Apollo GT, a rare sports car sold by International Motorcars of Oakland, California. It used an Italian-built body and chassis from Intermeccanica paired with a small-block Buick V8 engine that was installed in Oakland. This car exists today, is in the hands of a private collector, and has been restored as it was seen in the film with its yellow paint and number 14 logo.

"Herbie"
Before the film entered production, the titular car was not specified as a Volkswagen Beetle, and Disney set up a casting call for a dozen cars to audition. In the lineup, there were a few Toyotas, a TVR, a handful of Volvos, an MG and a pearl white Volkswagen Beetle. The Volkswagen Beetle was chosen as it was the only one that elicited the crew to reach out and pet it.

The Volkswagen brand name, logo or shield does not feature anywhere in the film, as the automaker did not permit Disney to use the name. The only logos can be briefly seen in at least two places, however. The first instance is on the brake pedals during the first scene where Herbie takes control with Jim inside (on the freeway when Herbie runs into Thorndyke's Rolls-Royce), and it is shown in all the future scenes when Jim is braking. The second instance is on the ignition key, when Jim tries to shut down the braking Herbie. The subsequent films, however, do promote the Volkswagen name (as sales of the Beetle were down when the sequels were produced). The VW "Wolfsburg" castle emblem on the steering wheel hub is also seen throughout the car's interior shots. Within the script, the car was only ever referred to as "Herbie", "the little car" or "the Bug"—the latter, although a common nickname for the Beetle, was not trademarked by Volkswagen at the time of filming.

The car was later given the name "Herbie" from one of Buddy Hackett's skits about a ski instructor named Klaus, who speaks with a German accent as he introduces his fellow ski instructors, who are named Hans, Fritz, Wilhelm, and Sandor. At the end of the skit, Hackett would say "If you ain't got a Herbie (pronounced "hoy-bee), I ain't going."

Herbie's trademark "53" racing number was chosen by producer Bill Walsh, who was a fan of Los Angeles Dodgers baseball player Don Drysdale (Drysdale's jersey number, later retired by the team, was 53).

Walsh also gave Herbie his trademark red, white and blue racing stripes presumably for the more patriotic color and came up with the film's gags such as Herbie squirting oil and opening the doors by himself.

Benson Fong, who played Mr. Wu, said that when he and the others were dragged along the dirt by Herbie, it was like being pulled by 40 horses. The 1961–1965 Volkswagen Beetles actually were rated by the SAE at 40 hp in factory configuration (though only 34 hp by the European DIN system which measured engine output as installed in the car with cooling fan and exhaust system attached).

Herbie has his own cast billing in the closing credits, the only time this was done in the entire series of films.

Today, only a handful of the original Herbie cars are known to exist. Car #10 was recovered from a warehouse in Pennsylvania and has been preserved—still sporting its original paint from the film.

Deleted scenes
The bonuses on the DVD provide two deleted scenes named "Used Car Lot" and "Playground".

A scene shot, but not included in the final cut of the film, featured Jim calling at a used car lot prior to his visiting Thorndyke's auto showroom. This missing sequence has long since been lost, and all that remains is the script and a single black and white photograph of Jim talking with the salesman at the lot.

An unfilmed scene at the end of the story that was scripted and storyboarded was to have shown Herbie playing with children at a nearby playground prior to taking the newly married Jim and Carole off on their honeymoon.

Stock footage
The opening scene of the demolition derby cars is stock footage from the film Fireball 500 (1966). Parts of this scene can also be found in a 1966-model year dealer promotional film by Chevrolet, titled Impact '66.

Shooting locations
Some of the racetrack scenes were shot at the Riverside International Raceway in Riverside, California. Others were filmed at Laguna Seca Raceway in Monterey, California, Willow Springs Raceway in Willow Springs, California and Paramount Ranch in Agoura Hills, California. Additional scenes depicting the El Dorado race were filmed near the San Bernardino Mountains in Big Bear City, California.

Cast and crew
Andy Granatelli, who was popular at the time as a presence at the Indianapolis 500 as well as the spokesman for STP, appears as himself as the racing association president. Announcer Gary Owens (of Rowan & Martin's Laugh-In fame) and Los Angeles Lakers play-by-play man Chick Hearn also appear as themselves. The driving scenes were choreographed by veteran stunt man Carey Loftin.

Drivers in the film billed in the opening credits include Dale Van Sickel, Reg Parton, Regina Parton, Tom Bamford, Bob Drake, Marion J. Playan, Hall Brock, Bill Hickman, Rex Ramsay, Hal Grist, Lynn Grate, Larry Schmitz, Richard Warlock, Dana Derfus, Everett Creach, Gerald Jann, Bill Couch, Ted Duncan, Robert Hoys, Gene Roscoe, Jack Mahoney, Charles Willis, Richard Brill, Roy Butterfield, Rudy Doucette, J.J. Wilson, Jim McCullough, Bud Ekins, Glenn Wilder, Gene Curtis, Robert James, John Timanus, Bob Harris, Fred Krone, Richard Ceary, Jesse Wayne, Jack Perkins, Fred Stromsoe, Ronnie Rondell, and Kim Brewer.

Cars featured

 * 1956 Ferrari 250 GT Berlinetta (#14)
 * 1955 OSCA MT4 Barchetta (#18)
 * 1957 Chevrolet Two-Ten 2-Door Sedan (#23)
 * 1959 Devin D (#47)
 * 1959 Austin-Healey 3000 (#64)
 * 195x Kellison J4 (#82)
 * 1960 Ferrari 250 GT Berlinetta SWB (#54)
 * 1963 Apollo 3500 GT (#14)
 * 1963 Shelby Cobra 289 (#20)
 * 1963 Triumph Spitfire 4 (#96)
 * 1964 Jaguar XK-E (#14)
 * 1965 Chevrolet Corvette Sting Ray C2 (#29)
 * 1961 Balchowsky Ol' Yaller MkIV (#41)
 * 1966 Lamborghini 400 GT 2+2
 * 1966 Chevrolet Corvette Sting Ray C2 (#20)

Promotion
During one scene in the film, Herbie has lost one of his wheels, and Tennessee is hanging out of the passenger side door to balance him. The door opens, and there is no "53" logo on the door. This image was used heavily to promote the film.

Reception
The Love Bug was the second-highest-grossing film of 1969, earning over $51.2 million at the domestic box office. It received mostly positive reviews from critics, later earning a 78% "Fresh" rating from 18 critics on the review aggregator website Rotten Tomatoes. On Metacritic, the film has a weighted average score of 48 out to 100, based on 7 critics, indicating "mixed or average reviews".

Vincent Canby of The New York Times panned the film as "a long, sentimental Volkswagen commercial ... which has the form of fantasy-comedy, lots of not-very-special effects and no real humor."

Variety wrote, "For sheer inventiveness of situation and the charm that such an idea projects, 'The Love Bug' rates as one of the better entries of the Disney organization."

Charles Champlin of the Los Angeles Times called it brisk, active, bright, technically impeccable, simple-minded, full of tricky effects and free of all but the most glancing resemblances to nasty old reality. It is a formula picture, and such troubles as there are arise mainly from the fact that the formula has known much stronger ingredients (Fred MacMurray and flubber, let's say) in the past. The Monthly Film Bulletin declared that "this very engaging mechanical fantasy is the best piece of work from the Disney studios for some time. The caper appears to have had the effect of injecting life into Robert Stevenson's usually pedestrian style, since with the exception of one glutinously sentimental episode the pace never lets up."

Comic book adaptation

 * Gold Key: The Love Bug (June 1969)

Legacy
Four theatrical sequels followed: Herbie Rides Again, Herbie Goes to Monte Carlo, Herbie Goes Bananas, and Herbie: Fully Loaded. Some parts of the racing sequences from the film were later reused for Herbie's dream sequence in Herbie Rides Again, responding to Grandma Steinmetz's telling Willoughby Whitfield that Herbie used to be a famous racecar.

A five-episode television series, titled Herbie, the Love Bug, aired on CBS in the United States in 1982. Directed by Vincent McEveety, the series acted as a continuation of the films, with Dean Jones reprising his role as Jim Douglas. In 1997, there was a made-for-television sequel which included a Dean Jones cameo, tying it to the previous films. The most recent sequel, Herbie: Fully Loaded, was released on June 22, 2005, by Walt Disney Pictures.

At Disney's All-Star Movies Resort at Walt Disney World in Orlando, Florida, Herbie has been immortalized in the "Love Bug" buildings 6 and 7.

Home media
The film was released on VHS on March 4, 1980. It was re-released on November 6, 1985, September 11, 1991, and on October 28, 1994, with Herbie Rides Again. It was soon re-released again on September 16, 1997, along with the entire Herbie the Love Bug film series. It was released on DVD for the first time on May 20, 2003. It was released again with its sequels in a four-movie collection in 2012. A 45th Anniversary Edition Blu-ray Disc was released on December 16, 2014, as a Disney Movie Club exclusive title.

title: The Love Bug


text:
Talk:Exponential growth

SARS
It looks like SARS didn't exactly grow exponentially as expected. Maybe a different example would be better? ;) Revolver

How to invest? D'zeko (talk) 20:43, 15 September 2017 (UTC)

Nuclear reactor example
The nuclear reactor example doesn't really work. The damping of the control rods (hopefully!) prevents exponential growth in decay rate. Needs work.--Rwinkel 15:56, 8 Aug 2004 (UTC)

increasing rate
The opening paragraph still needs work. I seem to keep missing Michael Hardy's points, so maybe I'm not the best person to write it. My understanding is that the usual case for an exponentially growing (as opposed to decaying) function is that it grows faster the larger it gets. Of course, other functions can also do this, but exponentially growing ones always will. Can someone supply a counterexample if that's not the case? Lunkwill 22:17, 13 Apr 2005 (UTC)

 * I'll return to this soon and do some work that's not as hasty as the terse edits I've done lately. Michael Hardy 02:22, 14 Apr 2005 (UTC)

Does science grow exponentially?
I removed "science" from the list of things which grow exponentially, and another user wanted to know my reasoning behind it, so here it is:

Saying "science grows exponentially" has little meaning to begin with. Do you mean scientific knowledge? Scientific practice? Scientific ambitions? Scientific institutions? Scientific practitioners? Scientific method? Are you referring to all branches of science, or is it a statement based on idealized versions of physics or biology? (Does immunology grow exponentially? How about botany?) So first you'd have to be more specific about your metric before claiming anything about it, there is no monolithic science when you get down to it, the term refers to a bundle of things, many of which are historically contingent (i.e. the role and demographic of scientific practitioners changes radically between 1880 and 1930).

Second, you'd have to have the data to measure it. Can we measure "scientific knowledge"? How would we do so? Is science about quantity or quality? Would a thousand papers about phologiston theory count as scientific growth? Even something as mundane as a list of the number of scientists in the world at any given time -- when do you start the list? Do we stretch science all the way back to the Greeks? The Middle Ages? Or are we talking about science as an independent profession, one which doesn't really get under way until the late 18th century?

Lastly, are we assuming this is some inherent property of science itself? Because science does not compel itself to grow (or even work) -- it requires a number of outside variables. Scientific funding seems to be the most important one (no money, no science), and there's no reason at all to expect that to be exponential. In the 20th century, scientific funding (both in amount and its sources) hugs very closely to political and economic trends of the times (i.e. science in Russia grew tremendously between the 19th century and the 1980s, and then it collapsed almost completely after the collapse of its funding source, the USSR).

So anyway, I don't think it is a very meaningful statement. I modified it a bit on the history of science page to be descriptive rather than prescriptive ("science has grown" vs. "science grows"), and changed it to something more specific ("scientific practice" vs. "science"), but even then it ought to be questioned whether it is anything more than hyperbole. And if it is in doubt whether it is hyperbole, then it should only be hyperbole on a relevant page: we don't need hyperbole about science on a page about exponential growth, but could tolerate it on a page about the history of science.

Do I make sense? That's why I think it is a meaningless statement, and likely incorrect at best. I also don't know why scientific growth would be exponential and not, say, linear. Does each scientific discovery produce two or three more? I don't see any general rule to it which would make me think it could be reduced to mathematics. I'm just not sure it makes sense. --Fastfission 14:04, 16 Apr 2005 (UTC)

 * Your explanation is very interesting to me, as it reminds me how oversimplistic and flawed are such vague statements. It also offers me many new insights. If you agree, I will include the information given in your post, especially from the section about outside variables, in the article "history of science". What was that about growth of science in Russia?! ;)

 * One more question and sorry for bothering you - What could be said about the growth of different aspects of science in time (scientific knowledge, number of scientists...)? Thanks for taking the time to explain this to me and other Wikipedians. Happy wiki-ing! --Eleassar777 14:53, 16 Apr 2005 (UTC)

 * Loren Graham has a book (What have we learned about science and technology from the Russian experience?) which poses a number of fun questions about science using Russia as an example; the best one (and most relevant to this discussion) is "What is more important to science, money or freedom?" where he basically concludes that while freedom might be nice in an idealistic sense, without money, science grinds to a halt, while without freedom, science finds ways around the difficulties (it works with the system). Very enjoyable.

 * On the number of scientists, a lot of that depends on what one defines as a "scientist." One metric often used is number of PhDs granted in a given field. In physics, for example, from 1900-1940 there is a fairly linear growth; after WWII the US government encouraged more physicist and it jumped up to a huge amount during the Korean war and after Sputnik. But the market started to slow up and by 1970 the number had peaked and dropped. See figure 1 and 2 in: David Kaiser, "Scientific Manpower, Cold War Requisitions, and the Production of American Physicists after World War II," Historical Studies in the Physical and Biological Sciences 33 (Fall 2002): 131-159 (available online here).

 * A great book which tries to spend a lot of time picking out many different questions about what we mean by "science" and "scientific practice" is Bruno Latour's Laboratory Life -- very recommended if you are interested in thinking about this sort of thing. --Fastfission 17:25, 16 Apr 2005 (UTC)

 * An old classic which approaches this problem is Derek Price's Little Scìence, Big Science. Price noted that if the number of scientists grew exponentially at then current rates, every person on Earth would soon be a scientist. He argued that many parameters of science (more precisely of technology) don't grow exponentially but grow in accordance with a logistic curve (or more precisely with multiple logistic curves as design principles change).  Examples I recall are the energy of particle accelerators and the length of bridges (I don't think the latter is in Price). --SteveMcCluskey 17:29, 1 June 2006 (UTC)

human population
"Human population, if it is not hindered by predation or environmental problems" Wrong, unless refraining from procreating (voluntarily or by government decree) is considered an environmental problem.

 * It's all in the definition. If the rate of population growth is proportional to the current population then we have an exponential. In reality this won't be the case, there are lots of changing factors, it will be a reasonable model if birth rate & death rate are staying the same. Is it ok to remove the rest of this discussion ?  —Preceding unsigned comment added by 86.25.246.37 (talk) 18:52, 28 June 2009 (UTC)

 * Yeah, I don't know about this. It seems to be directly linked also to the number of children in a family, which seems linked to all sorts of circumstances. In the end, I feel like saying, "Human population when the number of children born is at least X per family," which basically is, "Human population, when the population increases at an exponential rate" which is somewhat circular! --Fastfission 17:30, 4 Jun 2005 (UTC)

 * Several weeks ago I responded to the objection above by editing the article so that it says the following:

 * Human population, if the number of births and deaths per person per year remains constant.

 * Michael Hardy 02:22, 5 Jun 2005 (UTC)

 * But is that true? I mean, if the number of deaths per year is more than the number of births, even if they remain constant it won't be exponential growth, will it? Again, doesn't this just mean, "if the number of births and deaths per year is a function of exponential growth, and they remain constant, then human birth rate is exponential growth"? --Fastfission 17:31, 5 Jun 2005 (UTC)

Correcting for the ordinal numbering system:
Week:    1   2 Option 1: 1c, 2c,

''We can describe these cases mathematically. In the first case, the allowance at week n is 2n cents; thus, at week 16 the payout is 216 = 32768c = $327.68. All formulas of the form kn, where k is an unchanging number (e.g., 2), and n is the amount of time elapsed, grow exponentially. In the second case, the payout at week n is simply n dollars. The payout grows at a constant rate of $1 per week.''

  Please correct me if I'm wrong, but we need to correct for the ordinal numbering system here. Value at week n = 2^n-1.  p.

 * Right you are. I fixed it, but you would have been most welcome to fix it, too. Incidentally, MediaWiki will almost always figure out what you mean without HTML tags, and you can sign your messages on talk pages if you want by putting 4 ~ characters in a row. Thanks for your contribution! Lunkwill 20:57, 4 August 2005 (UTC)

Exponential Law and Malthusian Law
This is an approximate law of population based on Malthusian Growth Model, discovered by Malthus 1798 (Refer Darwin, Dawkins, and Drexler. Refer Exponential Growth law, "Cassell's Laws Of Nature", Trefil 2002. Also, "e: The Story Of A Number" by Eli Maor, 1994, "What Evolution Is" by Ernst Maor, 2001 , "How Many People Can The Earth Support" by Joel E. Cohen, 1995, "Complex Population Dynamics" by Peter Turchin, 2003, and "The Galilean turn in population ecology" Mark Colyvan and Lev R. Ginzburg, 2003). The Exponential Law is also sometimes referred to as the Malthusian Law (refer "Laws Of Population Ecology" by Dr. Paul Haemig, 2005).

I believe we may need a disambiguation page to ensure that users can get to "Malthusian Law" version of the Exponential Law. DAC

Nothing grows exponentially
Strictly speaking, if exponential growth requires a constant rate, then nothing grows exponentially. Why? Take the 3 logical cases:

1) positive growth rate. Nothing can grow indefinitely at a constant positive rate due to limits to growth. Any constant positive rate of exponential growth inevitably causes all available resources to be consumed, which then halts such growth!

2) negative growth rate. Anything which sustains a constant negative rate will cease to exist, which then halts all growth as whatever the "thing" was no longer exists!.

3) zero growth rate. It's not growing!

All quoted examples of exponential growth in this article are, in fact, temporary periods of constant rate exponential growth. Another way of saying that things grow via temporary periods of constant rate exponential growth is to say that they grow at variable rates of exponential growth. This is, of course, mathematical heresy because the definiton of exponential growth requires a constant rate!

But you can think of it this way:

 * fixed rate compound interest = constant rate exponential growth
 * variable rate compound interest = successive periods of constant rate exponential growth (at a potentially different rate per period) = variable rate exponential growth

Regards, --Couttsie 01:17, 24 March 2006 (UTC)

Removed several examples that were actually exponential decay. Added avalanche breakdown as another axample of exponential growth. Bert 14:29, 12 June 2006 (UTC)

Dear Couttsie, I hope you appreciate the newly added paragraph on Limitations of exponential models. Sincerely, Marenco 14:29, 29 September 2006 (UTC)

alternate general formula for growth
i see it mention but the formula itself is not mentioned, so: Q(t)=a(1+r)^t where —The preceding unsigned comment was added by Mokaiba (talk • contribs) 26 September 2006.
 * the coefficient a is the initial value of Q (at t = 0)
 * the base b is the growth factor where + b = 1 + r is growth (b > 1) where r is the rate (as a decimal)
 * the exponent t is the independent variable
 * the dependent variable is the quantity Q

 * This formular only changes the letters, so its not really an alternative formula. --Salix alba (talk) 07:59, 26 September 2006 (UTC)

 * Actually the formula mentioned above is the compound interest formula, which is close to (but not the same as) exponential growth. Exponential growth is the equivalent of continuous compounding, in which the compounding period is set infinitely small (divide $$r$$ by a number that "approaches" infinity and multiply $$t$$ by a number that "approaches" infinity). See the comment below. Cyrus Jones (talk)

geometric growth
Why the hell does geometric growth redirect here? Fresheneesz 05:57, 26 October 2006 (UTC)

 * Because the two terms mean the same thing. -- Dominus 17:35, 26 October 2006 (UTC)
 * Well.. i'm not quite so sure about that, but since I have no other information to go on (couldn't find anything quickly), i'll put it up as a synonym, which should have been done if the term redirects here. Fresheneesz 22:52, 26 October 2006 (UTC)
 * Are you sure they're always the same? I have always thought so too, but lately I've run into a few (seemingly intelligent) articles that refer to them as different phenomena.  Always without explaining the difference, of course.  An unscientific Googling shows a bunch of articles saying things like "exponential (geometric) growth", and a bunch of others that include "the difference between geometric and exponential".  Anybody know math?  I don't.  JayLevitt 14:58, 15 November 2007 (UTC)

 * Dominus is right: geometric progression means a progression like 1, 2, 4, 8, 16 when a ratio between neighbours is the same in contrast with arithmetic progression: 2, 4, 6, 8, 10, 12, .. when difference between neighbours is the same. So geometric growth is y=2x - exponential function; and ariphmetic is y=2x - linear function. Guest 04:45, 18 January 2007 (UTC)

I'd be inclined to use the term "geometric growth" only with discrete time, and "exponential growth" with either discrete or continuous time. Michael Hardy 20:04, 15 November 2007 (UTC)
 * So is are discrete and continuous time different theories of time, or just different implementations of measurement? In my world, I hear both terms applied to, say, the volume of growth a new server has seen. "Last month, we used to process one hundred messages a minute on that box; now it's two hundred a minute.  That's exponential growth!"  If [Randall Mundroe] swoops in with a cape and says "No, it's geometric, not exponential!" is he right or wrong, or just being unnecessarily deus-ex-machina?  —Preceding unsigned comment added by JayLevitt (talk • contribs) 08:09, 20 November 2007 (UTC)

The above comment makes the very mistake that this article is supposed to be warning people against. "Exponential growth" is NOT synonymous with "fast growth" and if you think it is, you ignored this article. Michael Hardy (talk) 21:32, 10 March 2008 (UTC)
 * No, I don't think I did -- but neither did I give a long enough example. I was envisioning the server growing from 50 messages per minute to 100, to 200, to 400... JayLevitt (talk) 22:36, 26 August 2008 (UTC)

Isn't the key to this whether y=ka^n (geometric) is always capable of alternative expression y=b*exp(x) (exponential) where k,a and b are constants and y,n and x are variables? A hazy memory of mine is that the latter is a specific form of the former - i.e. 'exponential' is sufficient but not necessary for 'geometric'. Some formulae on this in the article would be helpful. Nmcmurdo (talk) 23:11, 13 December 2007 (UTC)

 * Here is an example that I have always seen to show that 'exponential' is a subset of 'geometric': y=x^a is geometric but not exponential while y=a^x is both geometric and exponential.  I really think that Geometric should have its own page. Kmwalke (talk) 19:17, 10 March 2008 (UTC)

 * I agree with Kmwalke, geometric growth is x^a not a^x JackAidley (talk) 16:55, 28 July 2009 (UTC)

The former is not geometric growth; it is polynomial growth. Michael Hardy (talk) 21:30, 10 March 2008 (UTC)
 * So, Michael, do you have any example of geometric vs. exponential? I don't understand the difference between discrete and continuous time, which may be the key here. JayLevitt (talk) 22:36, 26 August 2008 (UTC)
 * See the article Geometric progression. The term 'geometric growth' is not used there, and I don't think it is widely used anywhere. The sequence is geometric, but the growth is exponential. Bo Jacoby (talk) 00:18, 29 July 2009 (UTC).

Looking at this months later: I'm astonished that someone thinks discrete-versus-continuous time may be about different theories of time, and that another person professes lack of understanding of those terms. "Discrete" and "continuous" mean the same things here that they mean in other quantitative contexts. That's all. Don't make this pointlessly complicated. I was distingishing three things:
 * Continuous-time "exponential" growth;
 * Discrete-time "geometric" growth;
 * (In both of the above, the time variable is the exponent, not the base.)

Michael Hardy (talk) 00:46, 29 July 2009 (UTC)
 * Polynomial growth, where the time variable is the base rather than the exponent.

New graph
Given the previous posts...

What about a graph
I think we could use a graphic as an example for this article. There might be a good exponential one already on Wikipedia, so if anyone has the time to check out... — Kieff | Talk 09:11, Oct 29, 2004 (UTC)

(wow, that's OLD!)

graph
apologies to the person who made it, but this graph is terrible. it looks like it was drawn with technology made obsolite 10years ago. the notiation is rather odd, and can you say pixilated? it could add clarity to the article, but instead left me temperarily dumbfounded. i drew better one, but alas i am too retarded to upload it. can so one better suited to the job fix this? mastodon 20:04, 1 December 2005 (UTC)

Well then, I decided to make a prettier graph. It'll be at Commons in no time, I'm just waiting for the databases to unlock. Cheers! — Kieff 13:15, 19 January 2007 (UTC)

then i will do something better than u — Preceding unsigned comment added by 41.182.210.249 (talk) 10:59, 7 November 2012 (UTC)

What's the opposite?
What do you call the growth rate that slows?

What if I had a million marbles, and a million plus the square root of a million marbles the next day, and that amount plus the square root of that amount the following day. What's that?

Y'know, like rather than the graph curving up like one side of the Eiffel Tower, it would start steep and soon be only slowly increasing, like Uluru. I'm talking about an ever increasing line where the rate of increase constantly slows rather than accelerating. Any help? Thanks. Gronky 18:47, 5 July 2007 (UTC)

 * Exponential decay--Cronholm144 19:44, 5 July 2007 (UTC)

 * Thanks for the response, but that doesn't seem to be what I'm looking for. I'm looking for something that continually increases, just at an ever slowing rate.  Exponential decay seems to be in continual decrease. Gronky 19:47, 5 July 2007 (UTC)

Logarithm, Logistic function, or any function with a positive derivative and a negative second derivative. --Cronholm144 20:09, 5 July 2007 (UTC)

Also, if your flip the exponential decay function over the x-axis, then you have the desired function type (y=-e-x) oops, thanks Michael y = −e−x--Cronholm144 21:49, 8 July 2007 (UTC)

 * You must have meant −e−x. Michael Hardy 15:12, 7 July 2007 (UTC)

 * Asking for a name for something that continues growing, but at a progressively slower rate, is not the same as asking for the "opposite" of exponential growth. Nor is the latter question well-defined enough to admit any answer. Michael Hardy 15:11, 7 July 2007 (UTC)

 * The differential equation $$y'=\sqrt y$$ has solutions $$y(x) = \left(\frac{x+C}{2}\right)^2$$. The difference relation $$y_{k+1} = y_k + \sqrt{y_k}$$ has solutions of $$O(k^2)$$, so the growth is called quadratic. --Petter 19:43, 30 October 2007 (UTC)

little more maths
Do people think that some mathematical analysis is apropriate here, i.e. 'exp[x] is the limit as n->oo of ...'

This can be applied to real world problems - continuous interest can be thought of as the limit as the time periods tend to zero of normal compound interest, for example.

$$\lim_{n\to\infty} \left(1+\frac{p}{n}\right)^n$$Derek dreery 10:09, 3 August 2007 (UTC)

 * There is a section of the compound interest article on continuous compounding, which explains this idea well. It would be useful if the limit definition of $$e$$ was used to explain exponentiation growth in terms of continuous compounding (which is IMHO easier to understand than $$e$$ to a power).

 * $$e^x = \lim_{n\to\infty} \left(1+\frac{x}{n}\right)^n$$ Cyrus Jones (talk) 21:53, 4 February 2009 (UTC)

Wikipedia?
Would Wikipedia be a valid example of Exponential growth, such as the number of wikipedia articles over time?--64.75.187.196 (talk) 09:50, 24 January 2008 (UTC)

to be recast
a number doesn't grow, according to the definition of number. Also other errors in same section:-

 * But "the number of people living is Slobovia" or the like does grow. Michael Hardy (talk) 15:30, 21 May 2008 (UTC)
 * Correct. As drafted in the article it doesn't say number of (members of a set), so it can be easily confused with numeral. BTW number has some ten or more meanings... Quantity would perhaps be more approapriate in the article. Jclerman (talk) 22:38, 21 May 2008 (UTC)

Intuitition
The phrase exponential growth is often used in nontechnical contexts to mean merely surprisingly fast growth. In a strictly mathematical sense, though, exponential growth has a precise meaning and does not necessarily mean that growth will happen quickly. In fact, a population can grow exponentially but at a very slow absolute rate (as when money in a bank account earns a very low interest rate, for instance), and can grow surprisingly fast without growing exponentially. And some functions, such as the logistic function, approximate exponential growth over only part of their range. The "technical details" section below explains exactly what is required for a function to exhibit true exponential growth.

But the general principle behind exponential growth is that the larger a number gets, the faster it grows. Any exponentially growing number will eventually grow larger than any other number which grows at only a constant rate for the same amount of time (and will also grow larger than any function which grows only subexponentially). This is demonstrated by the classic riddle in which a child is offered two choices for an increasing weekly allowance: the first option begins at 1 cent and doubles each week, while the second option begins at $1 and increases by $1 each week. Although the second option, growing at a constant rate of $1/week, pays more in the short run, the first option eventually grows much larger:

We can describe these cases mathematically. In the first case, the allowance at week n is 2n cents; thus, at week 15 the payout is 215 = 32768¢ = $327.68. All formulas of the form kn, where k is an unchanging number greater than 1 (e.g., 2), and n is the amount of time elapsed, grow exponentially. In the second case, the payout at week n is simply n + 1 dollars. The payout grows at a constant rate of $1 per week.

This image shows a slightly more complicated example of an exponential function overtaking subexponential functions:

The red line represents 50x, similar to option 2 in the above example, except increasing by 50 a week instead of 1. Its value is largest until x gets around 7. The blue line represents the polynomial x3. Polynomials grow subexponentially, since the exponent (3 in this case) stays constant while the base (x) changes. This function is larger than the other two when x is between about 7 and 9. Then the exponential function 2x (in green) takes over and becomes larger than the other two functions for all x greater than about 10.

Anything that grows by the same percentage every year (or every month, day, hour etc.) is growing exponentially. For example, if the average number of offspring of each individual (or couple) in a population remains constant, the rate of growth is proportional to the number of individuals. Such an exponentially growing population grows three times as fast when there are six million individuals as it does when there are two million. Bank accounts with fixed-rate compound interest grow exponentially provided there are no deposits, withdrawals or service charges. Mathematically, the bank account balance for an account starting with s dollars, earning an annual interest rate r and left untouched for n years can be calculated as $$s (1+r)^n$$. So, in an account starting with $1 and earning 5% annually, the account will have $$\$1\times(1+0.05)^1=\$1.05$$ after 1 year, $$\$1\times(1+0.05)^{10}=\$1.62$$ after 10 years, and $131.50 after 100 years. Since the starting balance and rate do not change, the quantity $$\$1\times(1+0.05)=\$1.05$$ can work as the value k in the formula kn given earlier.

Generations in your family tree
An odd example of exponential growth is your family tree, as you go backwards in time from yourself. It works like this. You have two parents, who each have two parents, who each have two parents....and so on. That's 2 ^ n for n generations. So, after "just" 64 generations, before you know it, the number of ancestors in just your family tree exceeds the number of humans estimated to have ever lived. 2^64 = 18,446,744,073,709,551,616 people in each living person's family tree 64 generations ago. That roughly 6.5 billion multiplied by 2 ^ 64.

The example is odd because the number of ancestors being discussed are a) not necessarily unique individuals (some people occur in your family tree more than once - e.g. when second cousins marry second cousins) and b) this is not an example of a living population growing "forwards" in time, but a largely dead population (except many parents, some grand parents, and fewer great grand parents etc) increasing backwards in time. --Couttsie (talk) 09:47, 3 November 2008 (UTC)

all —Preceding unsigned comment added by 71.229.18.228 (talk) 19:20, 26 January 2009 (UTC)

Re: SARS
Epidemics go under cubic relationships. The poland v. france of russian capture-the-flag in greece.

- vampares —Preceding unsigned comment added by Vampares (talk • contribs) 21:53, 31 January 2010 (UTC)

Quote in Opening Paragraph
There used to be a quote of Albert Allen Bartlett in the opening paragraph of the entry: US scholar Albert Bartlett pointed out the difficulty to grasp ramifications of exponential growth, stating: "The greatest shortcoming of the human race is our inability to understand the exponential function."

Some IP address deleted it without explanation. I think it should be reinstated. I'll wait a couple of days for comments and then make the change if there are no objections. MattKaymans —Preceding undated comment added 16:22, 11 July 2013 (UTC)
 * The quote should be in the article Albert Allen Bartlett, which is apparently already the case. I don't see why it would be relevant here. It might fit in an article such as sustainable development or sustainable living, though. Isheden (talk) 20:19, 11 July 2013 (UTC)

Growth rate constant or proportional?
The first sentence currently reads:
 * "Exponential growth occurs when the growth rate of the value of a mathematical function is proportional to the function's current value."

This means that, as the the functions value grows larger (eg. for larger x-values), the growth rate increases with this value.

However, also in the lead section, it is currently stated:
 * The formula for exponential growth of a variable x at the (positive or negative) growth rate r, as time t goes on in discrete intervals (that is, at integer times 0, 1, 2, 3, ...), is
 * $$x_t = x_0(1+r)^t$$

In this formula, r is a constant (ie. independent of the current value of the function x_t), and r is called the "growth rate" (ie. the same term as in the lead sentence).

Both statements together cannot be correct. I assume the problem lies within the usage of the term "growth rate". I believe that two different concepts were conceived in the two cases. In the first sentence, the author refers to the derivative of xt, which is clearly not the same as r.

Before making major changes to the lede, I wanted to hear at least one opinion (preferably of somebody who has helped developing this article). Tomea s y T C 20:20, 7 March 2015 (UTC)

 * Yes, that was inconsistent. I changed it. - Patrick (talk) 22:18, 7 March 2015 (UTC)

 * Nigelj has put the inconsistent text back. - Patrick (talk) 22:36, 7 March 2015 (UTC)

 * It's the second paragraph that is confusing you. The opening definition has remained largely unchanged since the first version of this article was created in 2003. It is consistent with the definition given in the first sentence of the Overview section of the more mathematical 'Exponential function' article. The part that's confusing you was added by in 2011. Note that that formula comes from Compound interest. Its relevance to the lede section of this article is questionable in my opinion, and it is certainly true that the terminology used is not mathematically accurate. If you want to have a go at improving the second paragraph, or moving it down into the body of the article and into a better context, then I would support and assist where I can. --Nigelj (talk) 23:04, 7 March 2015 (UTC)

Genetic complexity growth isn't exponential throughout history
The "Examples" section has a line stating "Genetic complexity of life on Earth has doubled every 376 million years. Extrapolating this exponential growth backwards indicates life began 9.7 billion years ago, potentially predating the Earth by 5.2 billion years." The citation is.

The referenced page then says "The two researchers acknowledge their ideas are more of a "thought exercise" than a theory proposal. [...] Of course there are other possibilities to explain what happened [...] life could have evolved following Moore's Law during certain periods but not at others. [...] There is also the possibility that the development of life had to reach a certain stage of development before it began to conform to Moore's Law. [...] There is the very real possibility that the beginnings and evolution of life don't conform to Moore's Law at all."

So basically, that paper says "we extrapolated small amounts of data to cover a much larger range, and in doing so made up a thing that's not true, but it might be."

No "thought exercise" should be cited as if it were fact, especially one that's on such obviously shaky ground. This is a terrible example of "exponential growth". (Unsigned)
 * Agree. I'll take it out if you haven't done so already. — Arthur Rubin  (talk) 20:17, 17 August 2015 (UTC)

Limitations of models
Says who that unbounded growth is not physically realistic? I think that needs references to back it up. I see no reason to think that exponential growth must stop at some point. The reasons cited in the article might not always happen. Yonathan Arief Kurniawan (talk) 06:26, 26 May 2017 (UTC)Yonathan Arief Kurniawan

Geometric vs Exponential: how about a new subheading?
So I've been using the hashtag #GeometricPopulationGrowth and noticed not many people use that hashtag -- at first I thought I misspelled it. Geometric growth redirects here but then isn't explained very well: In the case of a discrete domain of definition with equal intervals, it is also called geometric growth or geometric decay, the function values forming a geometric progression. Why doesn't "Geometric growth" redirect to "Geometric progression"? (Answer: Many people like myself mix up the two?) How about a paragraph in the article explaining the difference with simple examples? Google search has many links to "Geometric vs Exponential", here's a link for someone else who was confused about this article. Raquel Baranow (talk) 17:04, 11 October 2017 (UTC)

Unclear intro
The intro isn't clear at all to non-scientists. Can someone please rewrite it without using technical words like 'function' etc? :) Malick78 (talk) 23:54, 22 March 2020 (UTC)

Is there a name for this?
What do you call it when a series increases at an exponential rate, but is not strictly exponential? For example, the currency series 1, 2, 5, 10, 20, 50, 100... obviously in the long run increases at the same rate as (10^1/3)^n, but the series is not exactly equal to any exponential formula. 2A00:23C7:548F:C01:89EF:1341:CEAC:CAFF (talk) 23:58, 30 January 2023 (UTC)

title: Talk:Exponential growth


text:
Talk:Lutetium

Information Sources
Some of the text in this entry was rewritten from Los Alamos National Laboratory - Lutetium. Additional text was taken directly from the Elements database 20001107 (via dict.org), Webster's Revised Unabridged Dictionary (1913) (via dict.org) and WordNet (r) 1.7 (via dict.org). Data for the table were obtained from the sources listed on the subject page and WikiProject Elements but were reformatted and converted into SI units.

Least abundant element?
The occurrence section states that this element is "the least abundant of all naturally-occurring elements". The article on Astatine also makes this claim, when it says "Astatine is the rarest naturally occuring element". They can't both be the rarest natrally occuring elements. TerraFrost 02:38, 27 Feb 2005 (UTC)

I think this has already been corrected, but lutetium is ranked as about as abundant as silver. Scott Tygett Sept. 2007

If chemical distinctive characteristics are removed from Wiki chemistry...
History culling has been overdone, has it not?

Plus this entry, on tablets at least, seems to have been been thrashed. 2600:1700:ED01:C70:C5BD:A7FC:33DF:649B (talk) 14:57, 30 November 2022 (UTC)

Potential room temperature superconducting applications
Proposal to add to the “Applications” section

Several outlets are reporting preliminary results from a research team using lutetium hydrides as a material for room temperature, relatively low pressure superconductors.

Reporting

Given the controversial history of the team and previous retractions, I recommend waiting for the forthcoming Nature, article publication. Wmcleod (talk) 13:42, 25 March 2023 (UTC)

Pronunciation
It's pronounced /luːˈtiːʃiəm/, not /ljuːˈtiːʃiəm/. Imacrab1 (talk) 18:34, 26 January 2024 (UTC)
 * OED has /l(j)uːˈtiːʃɪəm/ or /l(j)uːˈtiːsɪəm/ (BrE), /lʊˈtiʃ(i)əm/ (AmE). Double sharp (talk) 09:57, 31 January 2024 (UTC)
 * What are you even saying Imacrab1 (talk) 11:45, 31 January 2024 (UTC)

Occurrence and production: short-lived isotopes
Since some of its main uses are of the very short-lived isotopes (for medical purposes), and these obviously are not naturally occurring, can something be said about how these are produced? Whether here, or in the article about isotopes of lutetium, or somewhere--and then a pointer from here. Mcswell (talk) 14:56, 21 June 2024 (UTC)

 * ✅ Johnjbarton (talk) 15:44, 21 June 2024 (UTC)

title: Talk:Lutetium


text:
Talk:Yuanfen

Proposed redraft of para starting : "Affinity occasion" could be a good translation of yuánfèn [version on 14 March 2024]
"Affinity occasion" could be a good translation of yuánfèn, as yuánfèn depends on the probability, or chance, of meeting (or seeing) someone in the real world at any given time and place, and involves both persons feeling as if they have already known each other for a very long time, even though in reality, they haven't. — Protalina (talk) 22:23, 14 March 2024 (UTC)

 * I agree with this rewording proposal. And thank you for your good recent contributions to the article. Æo (talk) 16:19, 16 March 2024 (UTC)

Which character for 分 / 份 ?
Does anyone know why it is "分" in "緣分", but "份" in "有緣無份"? If the article is currently correct, perhaps it should contain an explanation of why that character is not the same. --Karl Fogel 04:35, 11 October 2014 (UTC)

Expression
Is this expression equivalent to sanskrit "karma"? zadcat 07:12 20 Jul 2003 (UTC)

 * Not entirely equivalent. See modified article. --Menchi 20:09 21 Jul 2003 (UTC)

Wide-spread Proverbial Saying?
Two Singaporean correspondents have verified to me that "Have fate without destiny" (pinyin: you3 yuan2 wu5 fen4) is a proverbal saying there, but I don't know about the vernacular elsewhere. How widespread is the sentiment so expressed? Sad but true... and very poetic! Kencf 15:03, 19 March 2006 (UTC)

 * It's not really a sentiment but rather an explanation of certain events. In modern Chinese it's often used as a break-up line (equivalent to "It's not meant to be" in Anglophone cultures) or as a consolation to people who go through a break-up. Chevrox 03:28, 13 January 2007 (UTC)

 * So it's analogous to "Let's just be friends." Interesting! Kencf 16:38, 22 July 2007 (UTC)

The last proverb described
The last section of the article involving the proverb meaning "Hundered reincarnations for a boat ride, thousands of eons to share a pillow" seems to have two words misplaced. The "shi" in "băi shì" means "generations" or "eons", whereas the "zăi" in "qiān zăi" means "year". So, it seems, logically, that these words should be swithced, since 100 generations would be much longer than 1000 years. However, I have never heard this proverb spoken, so I don't know for sure... and I am well aware that Chinese, like most other languages, rarely has any logic to it's proverbs and slang. At any rate, I'll consult with my Taiwanese wife and friends, and see the correct way to write it. Other than that, this is a great article and kudos to whoever wrote... my wife eplained the concept of "yuan fen" to me yesterday. I looked at zhongwen.com for a translation, and it offered "destiny", but this article does a MUCH better job of explaining it. —Preceding unsigned comment added by 198.183.184.25 (talk) 17:23, August 29, 2007 (UTC)

Short description should be just a little more informative, hence slightly longer
At the moment, it's a stark "Concept", which is not informative enough, especially in "See also" and other lists using the Annotated link template, viz.:

In line with WP:SDEXAMPLES, how about "Concept in Chinese society" (strictly in line with first sentence of lead), or, looking at the second sentence of the Role in society section, "Concept in Chinese culture":

Yuanfen – Concept in Chinese society

Yuanfen – Concept in Chinese culture

Culture encompasses social habits and beliefs, so is more congruent with the content of the article. — Protalina (talk) 21:29, 2 July 2024 (UTC)

 * Done. — Protalina (talk) 09:20, 16 July 2024 (UTC)

title: Talk:Yuanfen