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Conker's Bad Fur Day

Conker's Bad Fur Day is a 2001 platform game developed and published by Rare for the Nintendo 64. The game follows Conker, a greedy, hard-drinking red squirrel who must return home to his girlfriend after binge drinking. Most of the game requires the player to complete a linear sequence of challenges that involve jumping over obstacles, solving puzzles, and fighting enemies. A multiplayer mode in which up to four players can compete against each other in seven different game types is also included. It is the second installment in the Conker series, after Conker's Pocket Tales (1999).

Although visually similar to Rare's previous games, such as Donkey Kong 64 (1999) and Banjo-Kazooie (1998), Conker's Bad Fur Day was designed for mature audiences and features graphic violence, alcohol and tobacco use, profanity, vulgar humour, fourth wall breaks and pop culture references. Development lasted four years, with concepts originating during the development of Killer Instinct Gold in 1996. The game, intended for a family audience, was initially titled Twelve Tales: Conker 64 and was set for release in late 1998, but by the time it received criticism for its kid-friendly tone and resemblance to Banjo-Kazooie during E3 1998, the game was transformed into an adult-oriented version of that product.

Conker's Bad Fur Day was released in March 2001, following an advertising campaign that targeted male college students. It received critical acclaim, with praise directed at its humour, sound, visuals, and gameplay. However, the game sold well below expectations due to limited advertising and a release towards the end of the Nintendo 64's life cycle, but has since developed a cult following. A remake, Conker: Live & Reloaded, was released for the Xbox in 2005, while the original version was included as part of the Rare Replay compilation for Xbox One in 2015.

Gameplay

Conker's Bad Fur Day is a platform game, its latest sections featuring elements of shooters. The player controls Conker the Squirrel through a series of three-dimensional levels. The game features an overworld where players can transition from one level to another, although many are initially blocked off until Conker earns a certain amount of cash. Each level is an enclosed area in which the player can freely explore to find tasks to do. The gameplay mostly relies on figuring out a way to help other characters by completing a linear sequence of challenges. These challenges may include defeating a boss, solving puzzles, gathering objects, and racing opponents, among others. The result is always a cash reward, which aids access to other areas in the overworld.

As compared to the player characters in Rare's previous platform games Banjo-Kazooie and Donkey Kong 64, Conker's abilities are simpler. The player can run, jump, and smack enemies with a frying pan. Conker can also swim underwater for a limited period of time, climb ladders or ropes, and push objects. To regain lost health, Conker can eat pieces of "anti-gravity" Chocolate that are scattered throughout the levels. The game employs "context-sensitive" pads that allow Conker to gain different, temporary abilities when pressing the "B" button atop them. For instance, in the beginning of the game, by pressing the B button on the first pad he encounters, Conker drinks some Alka-Seltzer to wipe out his hangover, at which point players can proceed forward. Some pads can turn Conker into an anvil to slam into the ground, while others pull out his shotgun, blow torch, throwing knives, and slingshot. They also serve to inform players of what needs to be done next.

The game includes a multiplayer mode where up to four players can compete against each other in seven different game types: Beach, Raptor, Heist, War, Tank, Race and Deathmatch. In Beach, a team of players must go up through a beach and into a waiting escape vehicle, while another must stop them by firing at them from fixed positions. Raptor involves a team of players controlling raptors to feed a baby dinosaur while another controlling cavemen who have to steal dinosaur eggs. Heist engrosses players in the robbery of a bank, where the goal is to retrieve a cash bag from the centre of the level and run with it to the team's vault without being damaged. War can either be a traditional capture the flag mode or Total War, where players have to get the other team's gas canister and use it to release a chemical gas that annihilates the enemy. In Tank, players fight using tanks and chemical canisters that release a lethal gas. Race is a racing mode which provides two variations of the same course. Items can be acquired and used against opponents. Finally, Deathmatch is a standard deathmatch mode where players fight against each other in shooting style from a third-person perspective. Players can set multiple options for each game, such as score limit, number of lives, and inclusion of computer-controlled bots.

Setting
Conker's Bad Fur Day is set in the Fairy Panther King's Kingdom. Windy is the game's main hub with entrances to most other sections: the farm Barn Boys, the poo-filled Sloprano, Heist, the horror-themed Spooky, Bats Tower, and It's War. Only one other section requires entering from an area besides Windy: Uga Buga, which must be entered under the bottom of Sloprano by paying the location's weasel guards $1,000. Obtaining access to the entrance requires going through a sewer pipe only accessible after defeating a big, opera-singing chunk of poo, named the "Great Mighty Poo". Windy has a beetle-populated area entirely filled with fecal matter, consisting of a big Poo Mountain and a Poo Cabin and a river next to it. Poo balls are required to enter the Sloprano section within the mountain, and Bats Tower which is only opened once the water in the river is drained. Poo balls are available at Poo Cabin, accessible after completing Barn Boys. The dung beetle near the entrance offers Conker poo balls if he can make the farm cows excrement in the pasture. Doing so involves Conker on the Poo Cabin's pasture turning on a big spigot to activate the prune juice (which gives the cows diarrhea), and using a bull to open gates for the cows to get out, as well as to kill the cows once each one finishes defecating. $2,110 is needed to pay Mr. Barrel to propel down a slope and break a barrier to the entrance of Spooky.

Plot
After a night of binge drinking with his friends, Conker the Squirrel embarks on a quest to return home to his girlfriend, Berri. Meanwhile, the Panther King, ruler of the land that Conker is lost in, finds that his throne's side table is missing one of its legs and orders his servant, Professor Von Kriplespac, to solve the problem. When Von Kriplespac suggests the use of a red squirrel as the fourth leg of his table, the Panther King sends his minions to capture one. During his quest to return home, Conker finds wads of cash scattered throughout the land and becomes sidetracked from his goal. This leads him to embroil himself in a series of increasingly absurd and often dangerous situations, including having to recover a beehive from enormous wasps; confronting a giant opera-singing pile of feces called The Great Mighty Poo; being transformed into a bat by his vampiric ancestor; and getting drafted into a war between grey squirrels and a Nazi-like group of teddy bears known as the Tediz, which Conker ultimately destroys.

When Conker finds Berri, Don Weaso, head of the Weasel Mafia, enlists their help in robbing a bank. After entering the vault, Conker and Berri find that the bank scene was an elaborate trap set by the Panther King to capture Conker. While confronting the Panther King and Von Kriplespac, Berri is shot and killed by Weaso. Afterward, a Xenomorph-like creature bursts out of the Panther King's chest, killing him instantly. Von Kriplespac explains that the creature is one of his creations and that he had planned to use this opportunity to kill the Panther King and escape his captivity. He then reveals that they are inside a spaceship, which he activates and takes into low orbit. From there, he instructs the creature to attack and kill Conker as revenge for destroying the Tediz, which were also his creations. Conker opens an airlock, expelling Kriplespac and the Panther King and Berri's corpses into space, and then battles the alien with the aid of a robotic suit. The game then suddenly freezes, and Conker expresses disbelief that Rare did not test the game properly. Asking for the programmers' assistance, the programmers give Conker a katana and teleport him to the Panther King's throne room, where he decapitates the alien. Conker is then crowned the new king of the land.

As the King, Conker realises that he should have brought Berri back to life when he was negotiating with the programmers. He then calls out to bring her back to life, only to realise that the programmers have already left. Conker gives a closing monologue, in which he discusses appreciating what one already has instead of always wanting more, stating that "the grass is always greener, and you don't know what it is you have until it's gone". After the credits roll, Conker is seen back at the same pub he was seen in at the start of the game. As it begins to storm outside, he drunkenly exits the bar, leaving in the opposite direction he took previously.

Early concepts
Following the success of Nintendo's Super Mario 64 (1996), a "barn" at Rare began conceiving and designing a similar unnamed "generic 3D platform adventure" during development of Killer Instinct Gold (1996). Tim Stamper had planned the game to star a cute squirrel mascot named Conker from the get-go, in order to have the widest possible appeal. The staff of Project Dream saw the yet-to-be-named platform game during the creation of its engine, and was inspired to change Dream from an RPG to a platforming game in the visual and gameplay style of the Killer Instinct team's project. Both then-upcoming Rare titles were first announced at the Electronic Entertainment Expo in June 1997, receiving the names Banjo-Kazooie and Conker's Quest, the first two games presented by Nintendo at the event.

N64.com reported Conker's Quest being a Super Mario 64-like game that "make[s] gamers feel as if they're playing through Disney's movie version of Bambi", where "Conker collects nuts and battles against giants in huge landscapes and is joined by a female squirrel who assists him as he makes his way through the game". The source reported the cameras being in an unfinished state and journalists unable to differentiate between it and Banjo-Kazooie, although liking Banjo far more. A writer for Ultra Game Players also noted it looking similar to Banjo and summarised that "Conker has to collect nuts, find new power-ups (in the form of different hats - kind of like Wario Land) and generally negotiate colorful 3D landscapes". He called its gameplay "competent and even addictive" and praised the visuals for "upping the ante on [Rare's] previous efforts, where the clipping is better, the textures more varied and the overall look of the game is expansive and colorful". However, he suggested its "disturbing" cuteness, while gaining Nintendo an audience of younger players, would turn off older players and criticised the gameplay of Conker and Banjo for being not original enough from Mario 64.

At the 1998 Expo, it was revealed that the game's title was changed to Twelve Tales: Conker 64 and the release was set for fall 1998. 64 magazine suspected the name change was to prevent consumers from confusing it with another Nintendo 64 title, Quest 64 (1998). Twelve Tales would have had a single-player mode and two-multiplayer modes. In single-player, the player could play as either Conker or Berri, where Conker's segments would be "arcade-style platformer[s]" involving "action and speed" and Berri's would be puzzle stages depicting her controlling her dino companion (as well as feeding him) so that he can protect her from enemies. The two multi-player modes would have been a co-operative two-player mode where the players play as Conker and an owl, and a split-screen four-player battle mode where players attack each other with acorns. Conker, unlike Bad Fur Day, moved on four legs in Twelve Tales.

Coverage upon the game's 1998 E3 appearance was generally positive, with focal points including the graphics, characters, content, and the characters changing emotions in reaction to the environment. Total 64 found the visuals better than Nintendo's Zelda game presented at the Expo, "utilising the N64's hi-res mode and displaying some gorgeous textures"; it additionally praised its "highly imaginative" four-player mode and Berri's levels. Journalist Andy McDermott appreciated the huge amount of content, in particular the multi-player modes, the two different gameplay styles in the single-player mode and the fact that Conker learns new moves and attacks as the game progresses. Coverage was not without criticisms, however; McDermott disliked its "Americanized" writing that consisted of "colonial-style comments" and the "infuriatingly happy music", while Next Generation called its premise of a squirrel collecting acorns in "stunningly unimaginative forests" a rip-off of Ocean Software's 16-bit platform game Mr. Nutz (1993). The most frequent skepticism was its kid-friendliness, particularly its consumer interest after the release of others family-friendly platformers like Banjo-Kazooie (1998). All of this concerned Rare, a developer which had a history of making games like Conker, resulting in a game design overhaul.

Transition to an adult game
Conker was planned to only take two years to make, but fights between workers at the barn delayed the process. Artist Don Murphy found the developing game not very good, and software engineer Chris Marlow said that "there was an awful lot of content and there were lots of fun ideas, but it just really wasn't gelling as a finished game". Additionally, the market for Mario 64-style platformers was saturated, and another game of that caliber developed by Rare, Banjo-Kazooie, was already completed and released to critical and commercial success. For the team, either something changed or the team had to split into other barns working on new projects, after having cancelled Conker. Multiple delays and a lack of updates led the press to believe that Twelve Tales was quietly cancelled.

Chris Seavor, who began working on the project as an artist, then pitched to Rare leaders Tim and Chris Stamper an idea he had since during the Twelve Tales phase, a day in the life game named Bad Fur Day about Conker trying to help others but causing more problems in doing so. In addition to having a narrative to give the titular character a personality, Seavor wanted to make the game "edgy, in terms of its violence"; the Stampers loved the idea and moved Seavor up to project lead. Seavor's first action following the meeting was changing the task "Wasps and the Queen Bee". Tim Stamper conceived its premise of wasps stealing a beehive, but Seavor noticed no established reasons or punchline behind it. He decided to end it with the beehive having guns shooting at the wasps; the founders loved it and directed the team to "make more of that". This set the formula for later missions: an introduction, interaction of the mission, and then an "extreme punchline" cutscene as reward for completing the task. It also changed the style of a game to a platformer starring a cute mascot character in an incredibly raunchy world. According to the developers: "We already had the main character (although he was eventually remodeled) and a good deal of code already written, so the best option seemed to be to change the game's direction. Mature humor was a key element".

Rare clarified publicly in January 2000 that the game was "still being worked on by a full team and with the same level of dedication as when it was first announced".

In 2000, Twelve Tales: Conker 64 was retooled into Conker's Bad Fur Day with a large amount of scatological humour.

Workflow
All of Conker's Bad Fur Day's staff, including the animators, programmers, and writers, worked in a liberated, non-planned, and intuition-based manner; the cutscene dialogue and gameplay design in particular was spontaneously conceived between the developers with a rough notion of the level's story. Out of all the game's dialogue, only the intro was scripted. The developers' ideas were tracked with notepads, as they would describe them verbally while taking notes of what they heard from others. Shawn Pile wrote a language that allowed for changes in the game’s structures to be done in a few seconds, whereas without it, it would have taken "two-and-a-half to three minutes" to make a change.

Writing
The beginning, middle and end of the story was done all at the same time, with events written to happen later in the story leading to the inclusion of elements earlier. In order to fit three save files in four kilobytes of SRAM space, the game was broken up into lengthy chapters. Seavor's focus on the game, as project lead, was making sure the narrative complemented the gameplay and mechanics: "Just doing a 'thing' like hitting something with a brick is far more engaging if there's a motivation behind it to disguise the binary nature of the act". For example, the developers originally planned Conker to attack with a baseball bat; this was changed to a frying pan because it justified the use of a comic sound effect of a metal object hitting something.

When designing levels, the developers were originally more focused on the gameplay than the comedy; as development went on, they noticed being less focused on gameplay and more on the comedic premises made the levels come together easier. This especially became evident with the use of film parodies, which Seavor decided on after adding a Terminator (1984) reference in the barnyard scene. The parodies helped the developers come up with ideas for music, sound, design, and gameplay. For example, the spoofing of The Matrix (1999) in a lobby chase scene gave composer and audio engineer Robin Beanland ideas for interactive music, where shooting bullets would fade the channels of the upbeat music into channels playing something more downtempo.

The Star Wars series, Bram Stoker's Dracula (1992), and Apocalypse Now (1979) are among the films spoofed. Conker's Bad Fur Day begins with a shot-by-shot recreation of the intro of A Clockwork Orange (1971). A joke in one of Conker's conversations with the catfish references Trading Places (1983). The sequences involving the shark-bulldog Brute parodies Jaws (1975), particularly featuring music cues similar to that of the film. The final boss fight references Aliens (1986), as an alien rips out of the Panther King's chest and Conker fights it in a powersuit.

Conker's Bad Fur Day also satirises conventions of adventure and platform games, occasionally by breaking the fourth wall. Conker makes fun of how menial his missions are, and the villain's motivation of getting a table leg pokes at the shallow premises of other games. Burt, a metal box in the "Barn Boys" chapter that stands in place for most of the level, is only there to open a gate, which pokes fun at characters in other games only there to be communicated with for the player to achieve other tasks. The explanation for why floating chocolate bars exist makes fun of floating collect-able items in other games where why they float is not established. The death sequences, where Conker encounters a skeleton named Gregg, was an attempt to make logical the concept of multiple lives. The bosses also take four hits to kill, a twist on the typical three in other video games.

Certain story elements, although not spoofing material, took influence from the works of Monty Python. "The Milk Thing", a running gag where the Panther King has to be resisted from masturbating, was inspired by a joke just as "trivial and banal" in a skit on Monty Python's Flying Circus (1969–1974) titled "Blancmange Playing Tennis", while a cow was based on the feminine guard character in Monty Python and the Holy Grail (1975). The fart noise segment of "Uncle Fucka" from South Park: Bigger, Longer, and Uncut (1999) was the inspiration for a level theme (named "Poo")'s arrangement consisting of fart noises. Some characters were based on real-life people the developers encountered. Birdy the scarecrow was based on a bearded Rare developer, and Gregg the Grim Reaper was named after Gregg Mayles. The bee king was inspired by a "really scruffy" man Seavor encountered while walking on a street in Nottingham who screamed at him, "don’t speak to me like that, in my country I am a king."

Programming
The developers heavily analysed Super Mario 64 in making Conker's Bad Fur Day, especially when it came to the camera. The staff noticed it, along with Prince of Persia 3D (1999), used "fixed views" that could not be controlled by the player. To make the game look cinematic, Rare went with having a fixed camera that was very zoomed out. To increase the number of simultaneous light sources to four, one programmer spent four months deciphering and rewriting the Nintendo-supplied Japanese-commented microcode for the Nintendo 64's Reality Coprocessor, while another microcoded the support for MP3, reverberation, and Dolby Pro Logic surround sound.

The length of all cutscenes combined total around two hours. Marlow programmed a "cutscene editor" that allowed for separately-made animations, audio files, visual effects, and camera setups to easily be compiled together for cutscenes. However, making cutscenes was still a lengthy process. The editor lacked a feature to preview only bits of cutscenes, meaning they had to be played in their entirety before they could be altered again; this made several small changes (such as text copyedits and adjustments to the timing of speech bubbles to match camera angle changes) very tedious.

The testing for Nintendo's Seal of Quality was strict; although the game was tested in the United States for five days with no bugs noticed, it was 24 hours in the Japan unit's three-day test that they noticed a problem of a cutscene in the first level not being triggered. Initially, Gregg's introductory scene (which is triggered the first time the player dies) was not to be "forced" in the "Spooky" level where the reaper appears again, as the programmers assumed no player would get to it without dying; a tester successfully did, so in the final game, the death scene plays once Conker reaches the stage.

Animation
Maya was used to create 3D animations. Beanland and animator Louise Ridgeway estimated 8.7 seconds and two-to-three cycles of animation were completed per day. When it came to animation, small details were a priority, such as the fire demons reacting if a swear word was entered into the cheat code menu and the camera shaking and triggering a sound effect if hit by an object. This method sometimes led to tedious tasks, such as having to animate each of several bricks on a bridge separately. Some animations, such as drunk character movements, required research. Animating Conker's juggling required Ridgeway being taught by David Rose how to juggle.

Conker has 2,000 animations, including 15 idle animations. Lots of work was spent on Conker’s tail, animating it for several instances when he rotates, stands, twitches, and moves around; in an attempt to simplify this process, the tail was thought of as a "bag of air". For animating objects attached to parts of Conker's model, Marlow coded as if the objects were constrained to joints different from the parts coming in contact with the objects; Conker's juggling balls moved based on his right hip, the Game Boy was attached to his foot, and the frying pan was connected to his wrist.

For Conker's peeing attack, only the back of him was animated without his front completed; this was because if the front of Conker peeing was animated and seen, it would have given Conker's Bad Fur Day an AO ("Adults Only") rating from the Entertainment Software Rating Board. Conker's cheeks were originally animated to puff during his whistling animation, but it broke during testing, and by the time it was fixed it was too late to program it into the final product.

Audio
The inclusion of voice acting, in addition to the adult content, was another method by Seavor of differentiating Conker's Bad Fur Day in the Nintendo 64 marketplace; the idea initially garnered skepticism from a few staff members who argued it was "too much work", but Seavor explained that for Beanland, it "was like laying down a challenge, one we both accepted and relished". For making each mission scenario, voice recording came first; Beanland recalled one session lasting an hour. Seavor described the voice recording process and him and Beanland "having some fun with stupid voices". The vocal track meant Conker's Bad Fur Day required a 64 MB cartridge, one of the few Nintendo 64 games that size. Audio made up around 40–48 MB of all cartridge space.

Except for The Great Mighty Poo, all of the male characters, including Conker, and two female characters were voiced by Seavor, with all other female characters voiced by the animator Louise Ridgeway. Routines of The Jerky Boys influence the voice direction, such as the New York accent on the Nasty Wasps. For Berri, Ridgeway was directed to use an American accent. She recalled in 2015 that she'd "never been anywhere in my life; I’d just flown over from Dublin", so "all I could think was to add 'like' so often". Seavor and Beanland had difficulty coming up with voices for the Ugas; they initially tried to make them sound like the cavemen in At the Earth's Core (1976), but were unsuccessful and ultimately decided to do random grunts and fast word sayings.

For music tracks where the instruments playing change depending on location, volumes of different MIDI channels were programmed to go up or down; one MIDI file was limited to 16 channels, so in order to have 32 MIDI channels for as much variation as possible, audio software engineer Mike Currington conceived having two MIDI files sync up with each other. With the intro to It's War replicating the chaotic audio of Saving Private Ryan, its bullet hit sounds were programmed as MIDI notes with much panning, taking advantage of the game's Surround Sound.

The Great Mighty Poo was performed by Marlow, who had experience in opera; recorded in a single afternoon, "Sloprano", the song the character sings, was written by Seavor and composer Robin Beanland specifically to incorporate Marlow's operatic talents. "Sloprano" was also originally going to have the sweetcorn be backing singers, with Ridgeway and another animator Aisling Duddy voicing them; this was rejected. The only Twelve Tales piece included in Conker's Bad Fur Day was the one where Conker is peeing on his enemies.

Rejected material
Although Seavor remarked that "pretty much 99.9% of the game content remained" writing-wise, Conker's Bad Fur Day was around 20% longer than the final product when it came to planned gameplay designs and concepts, with material cut due to a lack of time to incorporate it. A few areas that made it into the game were initially modeled differently, such as the water tube in the shark-bulldog area Conker swims in chasing a wad of money. Some offensive content was cut by Nintendo, including cutscenes with Pokémon and a joke at the expense of the Ku Klux Klan. The introduction of Conker slashing the N64 logo in half was also initially disapproved by Nintendo; the developers in 2013 recalled that Rare founder Tim Stamper may have met with Nintendo to resolve the conflict. Scrapped characters included four in the cheese field of the barn (Camembert, Ninja Cheese, Cheese Crate, and King Dick Cheesy III) and six "Drugrats" (Roach, Cornsacks, Floury, Doughy, Pooey, and Mrs. Roach).

In the final game, a climbing area in the Poo Cabin includes a hole containing a piece of chocolate that's unattainable due to being protected by bars; this was meant to be the entrance of a section that was never finished, and Seavor deliberately left the hole to annoy players. The "Yeehaa!" section, which involve three cows and a bull Conker rides named Bugger Lugs, was going to be a bigger level; Conker would have flown in the sky by blowing up a female cow into fetish outfits and turning her into a balloon, dropping bricks on other cows that exploded into fecal matter. Another scrapped mission was a return to the shark-bulldog area with the re-appearance of Brute and Marvin the farting mouse, who exploded in a previous section; Conker would have killed the dogfish by feeding the mouse to Brute, then going to a context-sensitive area to shoot the fish as Marvin was about to explode, in reference to the shark's demise in Jaws.

A scrapped conclusion, named the "Lock-Up Ending", would have occurred when Conker beat the final boss and died at the same time. Everything would become static except for Conker, who would fall to the ground after briefly being frozen during a dive, and the programmers would be heard arguing about the bug; Conker would then make a deal with the programmers to remove the boss in exchange for not telling "Tony" about it. Animation for a set of outtakes in the closing credits a la the end credits of Toy Story 2 (1999) was started, but could not be completed in time. One of the bloopers was the "Mad Pitchfork" scene where Conker became annoyed and had his voice turn "primadonna". Another was for a scene not in the actual game, where the teddy bears had to play dead but were not in character when the sequence started, which, according to a developer, was to make fun of a tester. A rejected post-credits finale would have had Berri still alive, but as a slave to king Conker.

Target demographic
Conker's Bad Fur Day received an M (Mature) rating from the Entertainment Software Rating Board for reasons of "animated violence", "mature sexual themes", and "strong language", becoming the second Nintendo-distributed M-rated title after another Rare-developed game, Perfect Dark (2000). Nintendo's move into adult titles was to keep the interest of consumers who played the company's titles when they were younger; Nintendo of America spokeswoman Perrin Kaplan explained that the "kids who were 6 when they played the first Mario game are now 26". Less than a year before Conker's release, 18-year-olds and over made up 58% of console players, those in the 35+ age group 21%. This demographic change was due to the success of adult-oriented PlayStation franchises like Tomb Raider and Resident Evil, and it meant it would not be enough for Nintendo to compete with Sony entirely on children's properties.

Because Nintendo was known for its family-friendly games (in 2000, around three quarters of revenue were from sales of child-friendly video games), Conker's Bad Fur Day was the subject of controversy. According to Rare, "Nintendo initially had concerns regarding this issue, because kids might confuse the product as being aimed at them". The Los Angeles Times claimed "some parents used to Nintendo’s family-friendly games are horrified", reporting a mother in Schererville, Indiana who bought the game for her 15-year-old son: "This is disgusting, sophomoric humor, and I’m disappointed in Nintendo. It’s like Disney releasing pornography". Nintendo of America declined to acknowledge the game in its Nintendo Power magazine (although other official Nintendo publications outside the USA did cover the game), and copies of the magazine's strategy guides were packaged in black polybags with warnings similar to the one on the cover art imposed onto them. KB Toys, which specialised in toys and video games for children, also refused to sell the game.

Marketing campaign
Starcom's promotional campaign for Conker's Bad Fur Day targeted college males and fratboys, advertising located in bars, colleges, late-night television, and adult magazines. For the Conker campaign, Starcom won two International Advertising Festival awards in the categories of use of mixed media and best campaign directed towards adult males; according to judges, it was also one of the top three contenders for Grand Prix, although Crispin Porter + Bogusky's Florida Anti-Tobacco Pilot Programme won it.

The campaign included a video ad named "Girl Talk" (on the website dubbed "69 Uncensored Seconds") that depicts a half-naked girl and a squirrel in bed with each other after a night of partying. For several months, urinal mats were placed in bathrooms of places in major cities, which included the URL for the game's website; Starcom associate media director Gina Broderick said: "Like Conker, our target's focus in on his social life. Being in bars is absolutely being in their element, and because urinating is part of game play, it made total sense".

From March to 5 April 2001, Playboy magazine ran its first ever video-game-related tour, a set of Conker's Bad Fur Day "Beach"-mode multiplayer competition parties at 20 colleges across the United States, hosted by Miss March 2001 Miriam Gonzalez. Winners of the contests were rewarded with green Nintendo 64 consoles, copies of Conker's Bad Fur Day, and Nintendo and Playboy merchandise, while the player with the highest score of all competitions won trips to two Playmate of the Year parties at Playboy Mansion. Spring break parties were also held at Club La Vela and South Padre Island's Louie's Backyard, the main events being "King of Tail" tattoo contests with free giveaways of various products on the side, such as Conker condoms, copies of Conker's Little Black Book (a collection of Conker's Bad Fur Day print ads), and t-shirts with "Got Tail?" on the front and the game's logo on the back.

Three "colouring book" advertisements were printed in magazines like Maxim. One consists of Conker and a woman next to a tree and around acorns on the ground, with the squirrel's head into her breasts; the tagline is, "Conker is a squirrel. Squirrels hunt for acorns. Can you help Conker find some acorns?" One depicted Conker peeing on flames with the tagline "Help Conker stop the bullies. Use your Yellow crayon" and another depicted him laying his head in a toilet with the text "Shhh! Conker is taking a nap".

Sales
Conker's Bad Fur Day was first released on 5 March 2001 in North America. It was the highest-selling mature-rated video game in its first month of release, and its website garnered 300,000 unique visitors in the first two weeks on the market. However, Conker's Bad Fur Day was not a commercial success, selling only about 55,000 copies within its first month of release. Potential reasons included its prohibitively high cost, advertisements exclusive to the older audience, and release near the end of the Nintendo 64's commercial life.

In Europe, Nintendo of Europe declined to publish or distribute the title following a full commercial appraisal, deeming Conker to not be "commercially viable" to localize due to its text-heavy nature. On 3 March 2001, Nintendo and Rare announced that THQ would publish and distribute the game in Europe, and the company released it on 6 April 2001.

As of February 2020, Conker's Bad Fur Day is the fourth rarest Nintendo 64 title, with copies selling on bidding sites for around $500 to $700 for a new copy; its value was affected by its unusual genre, poor initial sales, costly 64MB cartridges, being released near the end of the Nintendo 64's lifespan, and several leftover copies purchased upon Live & Reloaded's release.

Critical reception
Conker's Bad Fur Day received critical acclaim, with an aggregate review score of 92 out of 100 at Metacritic based on reviews from 19 critics. Claimed IGN editor Matt Casamassina in his 9.9/10 review, "not only is it quite possibly the most hilarious title ever created, but the selection of crude jokes, over-the-top violence and sexual content featured is only one-upped by the game's remarkably deep, well-paced level design, tightly knitted control mechanics, beautiful graphics and amazing sound quality."

Many publications and websites declared the graphics were the best on the Nintendo 64. Chris Slate of Next Generation wrote the title has the usual Rare qualities of "top-notch graphics" and "incredible worlds". Official Nintendo Magazine described even the gross-out levels as "drop dead gorgeous", and exclaimed the "amazing detail on the brilliant film spoof stages take our beloved N64 to new heights of visual pleasure". Critics noted that the game featured a number of technical effects that were uncommon at the time, especially for a Nintendo 64 game, such as "varied and crisp" textures, dynamic shadowing, coloured lighting, large areas with a long draw distance, no distance fog, detailed facial animations, lip syncing, and individually rendered fingers on some characters. GameSpot went so far as to say that the game "makes other Nintendo 64 games look like 16-bit software". Casamassina praised the detailed 3D worlds, "fantastic" texture work, and cute character designs. He remarked that "Conker himself is equipped with an in-game facial animation system that realistically portrays his different moods as he travels the lands. When he's scared, he looks it, and when he's pissed off players will actually be able to see his teeth showing in a frown". Reviewers noted occasional frame rate drops, but most agreed they did not interfere with the gameplay.

The game's audio and diverse vocal track were widely praised. Critics credited the voice acting for its different accents and styles, with "cleverly lewd" scripts and "dead-on" movie spoofs; Nintendojo noted certain voices sounding identical to film characters being spoofed. The soundtrack was praised for sounding clear for a cartridge title, its use of arrangement variation based on player location, and rich and creative instrumentation. Reviewers also highlighted the high number of sound effects, such as Conker's footsteps changing sound effects step-by-step, and how they benefitted the settings.

Most reviewers agreed the jokes were clever, funny, and well-delivered, and GamePro felt the "wildly diverse" weird missions were "sublime satirical genius" making up for the linear gameplay. However, some criticised the humor for being juvenile, misogynistic, and over-filled with profanity and bodily humor, and Slate felt the shock effect would go away within an hour. Seth Stevenson of Slate magazine called it an example of the lack of actual "mature" console games for "socially adjusted, non-outcasted adults who enjoy videogames". Official Nintendo Magazine described Conker's Bad Fur Day as "a monster sized game. Either you’ll die laughing well before the end or it will take you months of dedicated gameplay to reach it".

The gameplay was highlighted for its unconventional context-sensitive pads. Casamassina noted that they "help keep the action shifting, refreshing, and always exciting", and credited Rare for reducing the number of items to collect. GameRevolution's Johnny Liu positively described the gameplay as "a staccato flow between gameplay and cutscenes"; while there's only one path to traverse the game's big world, the enjoyment came in thinking what to do next. Slate wrote its diverse set of "bizarrely creative scenarios" motivated gamers; he was, however, bothered by the game's lack of clear direction on where to go, which resulted in long-length wonders that only ended in stumbling upon the next required area, and felt that many puzzles lack logical coherence and depended too much on trial and error. Edge remarked that the pads make Conker's Bad Fur Day "little more than a procession of barely connected and puerile minigames".

Criticism was also targeted at the game's erratic camera system, simplistic action, short length and linear nature. N64 Magazine felt that camera system does not allow players to properly judge their position within their surroundings and GameSpot remarked that it can get caught on objects or refuse to obey commands. The San Francisco Chronicle reported the camera being occasionally immovable and getting into frame objects that block the player's view, making worse an experience where the character is "difficult to control, especially when required to jump onto small areas".

The multiplayer modes garnered mixed responses. Casamassina and Gameplanet considered them inventive and praised the numerous options, adding longevity to the product. On the other hand, GameSpot stated that most modes "fail to stand the test of time", and Liu, although stating they were "a welcome bonus", considered them to be "filler", also criticizing that the responsiveness and control setup of the single-player mode were not suitable for the fast pace of the multi-player battles.

Accolades
Conker's Bad Fur Day was awarded Nintendo 64 Game of the Month by IGN. It won best sound at the 2001 BAFTA Interactive Entertainment Awards, Best Platform Game at the GameSpot Best and Worst of 2001 awards (where it was also nominated in the Best Story and Best Nintendo 64 Game categories, losing to Final Fantasy X and Paper Mario respectively) and Best Anthropomorphic Game at the furry media award ceremony Ursa Major Awards. During the 5th Annual Interactive Achievement Awards, the Academy of Interactive Arts & Sciences nominated Conker's Bad Fur Day for the "Console Action/Adventure" and "Outstanding Achievement in Character or Story Development" awards, ultimately losing to Halo: Combat Evolved and Ico respectively.

In later years, Conker's Bad Fur Day has been called by professional gaming critics one of the best video games of all-time, one of the greatest Nintendo games, and one of the best Nintendo 64 titles. In Uproxx's 2021 list of top 100 Nintendo 64 games based on 250,849 user ratings from various websites, Conker's Bad Fur Day came in at number 12. It ranked number six both on a list of Rare games by Shacknews (2018) and a ranking of best games featured on Rare Replay by Ginx TV. It was also called the first and seventh funniest game by GameTrailers (2009) and God is a Geek (2011) respectively. UGO included the game at #3 on their 2010 list of The 11 Weirdest Game Endings, and in 2013 Gaming Bolt named the water tube the 64th most challenging level of all video games. Despite its poor sales initially, the game has since enjoyed a cult following due to its unique styling.

Legacy
After the release of Conker's Bad Fur Day, Rare began development of a direct sequel referred to as Conker's Other Bad Day. Seavor revealed that the game would deal with "Conker's somewhat unsuccessful tenure as King. He spends all the treasured money on beer, parties and hookers. Thrown into prison, Conker is faced with the prospect of execution and the game starts with his escape, ball and chain attached, from the Castle's highest tower". In 2002, however, Rare was purchased by Microsoft, who told them they were not interested in such a project.

A remake of Conker's Bad Fur Day, titled Conker: Live & Reloaded, was ultimately released for the Xbox in 2005 to generally favourable critical reception. Developers noted that it was difficult to port the game to the Xbox system because Bad Fur Day's microcoded performance optimisations had been deeply customised for the Nintendo 64 hardware. Conker: Live & Reloaded features updated graphics and a multiplayer mode that supports the Xbox Live service. Additionally, some aspects in the single-player mode were adjusted: several minor obscenities within the voice dialogue that are present in the Nintendo 64 game were censored at Microsoft's request, the camera control was refined and improved with a zoom function, and an auto-targeting system was added to the game.

After the release of Live & Reloaded, Rare began work on another game in the Conker universe titled Conker: Gettin' Medieval. The game was to be multiplayer-focused and did not feature Conker as a main character, with Rare instead hoping to focus on other characters in the series, but the game was ultimately cancelled. Conker returned in a new episodic campaign for the sandbox game Project Spark. The campaign, titled Conker's Big Reunion, is set ten years after the events of Bad Fur Day and Seavor reprised his voice roles. The first episode of the campaign was released in April 2015, but the remaining ones were cancelled the following September. Conker's Bad Fur Day is also included as part of the Rare Replay compilation for Xbox One, marking the original game's first official re-release. The compilation was released on 4 August 2015.

Developer commentaries

 * Conker's Bad Fur Day commentaries uploaded to YouTube by "Conker King" (2013):
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title: Conker's Bad Fur Day


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Music video game

A music video game, also commonly known as a music game, is a video game where the gameplay is meaningfully and often almost entirely oriented around the player's interactions with a musical score or individual songs. Music video games may take a variety of forms and are often grouped with puzzle games     due to their common use of "rhythmically generated puzzles".

Music video games are distinct from purely audio games (e.g. the 1997 Sega Saturn release Real Sound: Kaze no Regret) in that they feature a visual feedback, to lead the player through the game's soundtrack, although eidetic music games can fall under both categories.

Overview
Music video games are games where there is typically some type of interactivity of the gameplay with the game's music. This may be where the music is generated in response to the player's actions, or where the player reacts to the beats and notes of the music. As the genre has gained popularity and expanded, music video games have demonstrated the ability to support a range of different styles of gameplay, making the genre itself rather diffuse. A game such as Rayman Legends features levels that are based on endless runners but where the player scores better by matching their actions to the musical cues, which could make this a music video game.

Instead, it is easier to consider the sub-genres of music video games based on how the player interacts with the music in the game, of which there are four main types as described by the concepts of "matching, making, mixing, and metonymy" as described by Michael Austin, the director of the School of Music at Louisiana Tech University. These ideas correlate to the subgenres as described below. Music games may feature multiple modes; for example, Frequency is primarily a scored rhythm matching game but also includes a music mixing gameplay feature for players to make their own mixes of the available songs.

Rhythm-matching games
Rhythm-matching games or simply rhythm games require the player to respond in some fashion in time to music as it is played and shown via the game, all generally to emphasize the rhythm of the song being played. This may be by performing specific actions on a controller with precision timing as the note is played. Players are generally scored by not only hitting the right control but how precisely they hit it in time with the music. To improve in such games, players often begin to learn the required actions to memory as to be able to anticipate difficult sections or areas where high scoring is possible.

The wide variety of possible player input has created a range of rhythm games, from Dance Dance Revolution where players input moves on a dance mat, Donkey Konga in which players beat on a conga drum-like controller, and the Guitar Hero series where players simulate the fingering and strumming on a guitar-shaped controller. This concept also extends to singing games like Karaoke Revolution, with players scored for how well they match the pitch of the vocal track.

Rhythm games are the most dominant form of the music game genre. The electronic game Simon is considered the earliest example of a rhythm game, while early games that defined the rhythm-matching aspects include Dance Aerobics (1987) and PaRappa the Rapper (1996). More recent titles include the Guitar Hero (2005) and Rock Band (2007) series, Beat Saber (2019), and Friday Night Funkin’ (2020).

Hybrid rhythm games
A further class of rhythm games is hybrid rhythm games or music reactive games. In comparison to the forementioned rhythm games where the rhythm matching is the primary focus and the player's action helps to generate the music that they hear, reactive games let the background music guide the player action, leaving the rhythm gameplay elements secondary to the main gameplay form. Often in these hybrid rhythm games, the player plays the game as they normally would but can use the in-game music to time actions often to better their score, thus affecting the interaction between the player and the in-game dynamics as goal of the game. In Rez or Free the Beat, for example, the game takes the form of a simple rail shooter; however, by integrating sound effects created by the actions of the player (as he completes the normal tasks of rail-shooting) with the soundtrack as a whole, the game is intended to permit the player's direct interaction with the soundtrack and to encourage the creation of a synaesthetic experience. Other similar games include Pteranodon, Rhyme Rider Kerorican, or iS – internal section. A further class of these games allow for users to provide music that is then processed dynamically by the game to create challenges for that song, so that players are not dependent on the game's developer to extend the game's library of songs. Such games include Vib-Ribbon, Audiosurf, or Dance Factory.

Music-making games
Music-making freeform music games are those in which the creation of music takes predominance over gameplay and as such these games are often more similar to non-game music synthesizers such as the Tenori-on. Players are given the ability to create their own music from a variety of sounds, instruments or voices, typically with no goal or objective. Free form music games occupy a position somewhere between generative hybrid music games and non-game utilities dependent upon the degree to which their gameplay relies upon a driving underlying plotline. This form of music game is closely analogous to sandbox games in the realm of non-musical games and the term "sandbox" has been used to describe this form of gameplay. Examples of such games include SimTunes or the music composition tool in Mario Paint.

Music-mixing games
Music-mixing games are those in which players take premade sounds, music, or other audio tracks and interact with them in the game to create new works. These games are similarly sandbox in nature a music-making games, though by creation of certain combination of sounds, the player may be awarded points or unlock additional features. Such games include Incredibox and Fuser.

Music-themed games
The fourth subgenre of music games are those that are related to the metonymy of music, where the game may feature narration about the creation of music but not feature gameplay related to music. For example, Michael Jackson's Moonwalker would be a considered a music-themed game as it is based on the musical works of Michael Jackson, but as a beat'em up, has none of the typical mechanics associated with the other subgenres of music games. One of the first examples of this type of subgenre, and of music games in general, is the 1983 arcade game Journey, named after band of the same name, which featured some of the group's music and digitized versions of the band members.

Music games for live performance
Some music video games, regardless of their fundamental gameplay, may offer modes to allow players to use the game for creating live performances, typically using freeform or non-scoring modes with multiple local players. Games like Guitar Hero and Singstar offer such modes that also give the player the opportunity for physical presence as part of their performance for others.

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

title: Music video game


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Japonic languages

Japonic or Japanese–Ryukyuan (日琉語族), sometimes also Japanic, is a language family comprising Japanese, spoken in the main islands of Japan, and the Ryukyuan languages, spoken in the Ryukyu Islands. The family is universally accepted by linguists, and significant progress has been made in reconstructing the proto-language, Proto-Japonic. The reconstruction implies a split between all dialects of Japanese and all Ryukyuan varieties, probably before the 7th century. The Hachijō language, spoken on the Izu Islands, is also included, but its position within the family is unclear.

Most scholars believe that Japonic was brought to the Japanese archipelago from the Korean peninsula with the Yayoi culture during the 1st millennium BC. There is some fragmentary evidence suggesting that Japonic languages may still have been spoken in central and southern parts of the Korean peninsula (see Peninsular Japonic) in the early centuries AD.

Possible genetic relationships with many other language families have been proposed, most systematically with Koreanic, but none have been conclusively demonstrated.

Classification
The extant Japonic languages belong to two well-defined branches: Japanese and Ryukyuan. Most scholars believe that Japonic was brought to northern Kyushu from the Korean peninsula around 700 to 300 BC by wet-rice farmers of the Yayoi culture and spread throughout the Japanese archipelago, replacing indigenous languages. The former wider distribution of Ainu languages is confirmed by placenames in northern Honshu ending in (from Ainu  'river') and  (from Ainu  'stream'). Somewhat later, Japonic languages also spread southward to the Ryukyu Islands. There is fragmentary placename evidence that now-extinct Japonic languages were still spoken in central and southern parts of the Korean peninsula several centuries later.

Japanese
Japanese is the de facto national language of Japan, where it is spoken by about 126 million people. The oldest attestation is Old Japanese, which was recorded using Chinese characters in the 7th and 8th centuries. It differed from Modern Japanese in having a simple (C)V syllable structure and avoiding vowel sequences. The script also distinguished eight vowels (or diphthongs), with two each corresponding to modern i, e and o. Most of the texts reflect the speech of the area around Nara, the eighth-century Japanese capital, but over 300 poems were written in eastern dialects of Old Japanese.

The language experienced a massive influx of Sino-Japanese vocabulary after the introduction of Buddhism in the 6th century and peaking with the wholesale importation of Chinese culture in the 8th and the 9th centuries. The loanwords now account for about half the lexicon. They also affected the sound system of the language by adding compound vowels, syllable-final nasals, and geminate consonants, which became separate morae. Most of the changes in morphology and syntax reflected in the modern language took place during the Late Middle Japanese period (13th to 16th centuries).

Modern mainland Japanese dialects, spoken on Honshu, Kyushu, Shikoku, and Hokkaido, are generally grouped as follows:
 * Eastern Japanese, including most dialects from Nagoya east, including the modern standard Tokyo dialect.
 * Western Japanese, including most dialects west of Nagoya, including the Kyoto dialect.
 * Kyushu dialects, spoken on the island of Kyushu, including the Kagoshima dialect/Satsugū dialect, spoken in Kagoshima Prefecture in southern Kyushu.

The early capitals of Nara and Kyoto lay within the western area, and their Kansai dialect retained its prestige and influence long after the capital was moved to Edo (modern Tokyo) in 1603. Indeed, the Tokyo dialect has several western features not found in other eastern dialects.

The Hachijō language, spoken on Hachijō-jima and the Daitō Islands, including Aogashima, is highly divergent and varied. It has a mix of conservative features inherited from Eastern Old Japanese and influences from modern Japanese, making it difficult to classify. Hachijō is an endangered language, with a small population of elderly speakers.

Ryukyuan
The Ryukyuan languages were originally and traditionally spoken throughout the Ryukyu Islands, an island arc stretching between the southern Japanese island of Kyushu and the island of Taiwan. Most of them are considered "definitely" or "critically endangered" because of the spread of mainland Japanese.

Since Old Japanese displayed several innovations that are not shared with Ryukyuan, the two branches must have separated before the 7th century. The move from Kyushu to the Ryukyus may have occurred later and possibly coincided with the rapid expansion of the agricultural Gusuku culture in the 10th and 11th centuries. Such a date would explain the presence in Proto-Ryukyuan of Sino-Japanese vocabulary borrowed from Early Middle Japanese. After the migration to the Ryukyus, there was limited influence from mainland Japan until the conquest of the Ryukyu Kingdom by the Satsuma Domain in 1609.

Ryukyuan varieties are considered dialects of Japanese in Japan but have little intelligibility with Japanese or even among one another. They are divided into northern and southern groups, corresponding to the physical division of the chain by the 250 km-wide Miyako Strait.

Northern Ryukyuan languages are spoken in the northern part of the chain, including the major Amami and Okinawa Islands. They form a single dialect continuum, with mutual unintelligibility between widely separated varieties. The major varieties are, from northeast to southwest:
 * Kikai, on the island of Kikaijima.
 * Northern Amami Ōshima, spoken in most of Amami Ōshima
 * Southern Amami Ōshima, spoken in Setouchi on the southern end of Amami Ōshima.
 * Tokunoshima, on the island of Tokunoshima.
 * Okinoerabu, on the island of Okinoerabujima
 * Yoron, on the island of Yoronjima.
 * Kunigami or Northern Okinawan, spoken in the northern part of Okinawa Island, including the cities of Nakijin and Nago.
 * (Central) Okinawan, spoken in the central and southern parts of Okinawa Island, and neighboring islands. The prestige dialect is spoken in Naha, and the former city of Shuri. The Shuri dialect was the lingua franca of the Ryukyuan Kingdom, and was first recorded in the 16th century, particularly in the Omoro Sōshi anthology.

There is no agreement on the subgrouping of the varieties. One proposal, adopted by the UNESCO Atlas of the World's Languages in Danger, has three subgroups, with the central "Kunigami" branch comprising varieties from Southern Amami to Northern Okinawan, based on similar vowel systems and patterns of lenition of stops. Pellard suggests a binary division based on shared innovations, with an Amami group including the varieties from Kikai to Yoron, and an Okinawa group comprising the varieties of Okinawa and smaller islands to its west.

Southern Ryukyuan languages are spoken in the southern part of the chain, the Sakishima Islands. They comprise three distinct dialect continua: The southern Ryukyus were settled by Japonic-speakers from the northern Ryukyus in the 13th century, leaving no linguistic trace of the indigenous inhabitants of the islands.
 * Miyako is spoken in the Miyako Islands, with dialects on Irabu and Tarama.
 * Yaeyama is spoken in the Yaeyama Islands (except Yonaguni), with dialects on each island, but primarily Ishigaki Island, Iriomote Island, and Taketomi Island.
 * Yonaguni, spoken on Yonaguni Island, is phonologically distinct but lexically closer to other Yaeyama varieties.

Alternative classifications
An alternative classification, based mainly on the development of the pitch accent, groups the highly divergent Kagoshima dialects of southwestern Kyushu with Ryukyuan in a Southwestern branch. Kyushu and Ryukyuan varieties also share some lexical items, some of which appear to be innovations. The internal classification by Elisabeth de Boer includes Ryukyuan as a deep subbranch of a Kyūshū–Ryūkyū branch:

 * Japonic
 * Eastern
 * Central
 * Izumo–Tōhoku
 * Kyūshū–Ryūkyū

She also proposes a branch consisting of the Izumo dialect (spoken on the northern coast of western Honshu) and the Tōhoku dialects (northern Honshu), which show similar developments in the pitch accent that she attributes to sea-borne contacts.

Another alternative classification, proposed by the Max Planck Institute for Evolutionary Anthropology as part of their Glottolog project, splits the Hachijō language into an independent branch of Japonic, in addition to splitting the divergent Kagoshima and Tsugaru dialects into independent branches of a "Japanesic" family.

 * Japonic
 * Hachijo
 * Japanesic
 * Japan−Taiwan Japanese
 * Japanese
 * Yilan Creole Japanese
 * Kagoshima
 * Old Japanese
 * Tsugaru
 * Ryukyuan

Peninsular Japonic
There is fragmentary evidence suggesting that now-extinct Japonic languages were spoken in the central and southern parts of the Korean peninsula. Vovin calls these languages Peninsular Japonic and groups Japanese and Ryukyuan as Insular Japonic.

The most-cited evidence comes from chapter 37 of the (compiled in 1145), which contains a list of pronunciations and meanings of placenames in the former kingdom of Goguryeo. As the pronunciations are given using Chinese characters, they are difficult to interpret, but several of those from central Korea, in the area south of the Han River captured from Baekje in the 5th century, seem to correspond to Japonic words. Scholars differ on whether they represent the language of Goguryeo or the people that it conquered.

Traces from the south of the peninsula are very sparse:
 * The Silla placenames listed in Chapter 34 of the are not glossed, but many of them can be explained as Japonic words.
 * Alexander Vovin proposes Japonic etymologies for two of four Baekje words given in the Book of Liang (635).
 * A single word is explicitly attributed to the language of the southern Gaya confederacy, in Chapter 44 of the . It is a word for 'gate' and appears in a similar form to the Old Japanese word, with the same meaning.
 * Vovin suggests that the ancient name for the kingdom of Tamna on Jeju Island, tammura, may have a Japonic etymology tani mura 'valley settlement' or tami mura 'people's settlement'.

Proposed external relationships
According to Shirō Hattori, more attempts have been made to link Japanese with other language families than for any other language. None of the attempts has succeeded in demonstrating a common descent for Japonic and any other language family.

The most systematic comparisons have involved Korean, which has a very similar grammatical structure to Japonic languages. Samuel Elmo Martin, John Whitman, and others have proposed hundreds of possible cognates, with sound correspondences. However, Alexander Vovin points out that Old Japanese contains several pairs of words of similar meaning in which one word matches a Korean form, and the other is also found in Ryukyuan and Eastern Old Japanese, suggesting that the former is an early loan from Korean. He suggests that to eliminate such early loans, Old Japanese morphemes should not be assigned a Japonic origin unless they are also attested in Southern Ryukyuan or Eastern Old Japanese. That procedure leaves fewer than a dozen possible cognates, which may have been borrowed by Korean from Peninsular Japonic.

Typology
Most Japonic languages have voicing opposition for obstruents, with exceptions such as the Miyako dialect of Ōgami. Glottalized consonants are common in North Ryukyuan languages but are rarer in South Ryukyuan. Proto-Japonic had only voiceless obstruents, like Ainu and proto-Korean. Japonic languages also resemble Ainu and modern Korean in having a single liquid consonant phoneme. A five-vowel system like Standard Japanese, , , and  is common, but some Ryukyuan languages also have central vowels  and , and Yonaguni has only , , and.

In most Japonic languages, speech rhythm is based on a subsyllabic unit, the mora. Each syllable has a basic mora of the form (C)V but a nasal coda, geminate consonant, or lengthened vowel counts as an additional mora. However, some dialects in northern Honshu or southern Kyushu have syllable-based rhythm.

Like Ainu, Middle Korean, and some modern Korean dialects, most Japonic varieties have a lexical pitch accent, which governs whether the moras of a word are pronounced high or low, but it follows widely-different patterns. In Tokyo-type systems, the basic pitch of a word is high, with an accent (if present) marking the position of a drop to low pitch. In Kyushu dialects, the basic pitch is low, with accented syllables given high pitch. In Kyoto-type systems, both types are used.

Japonic languages, again like Ainu and Korean, are left-branching (or head-final), with a basic subject–object–verb word order, modifiers before nouns, and postpositions. There is a clear distinction between verbs, which have extensive inflectional morphology, and nominals, with agglutinative suffixing morphology. Ryukyuan languages inflect all adjectives in the same way as verbs, while mainland varieties have classes of adjectives that inflect as nouns and verbs respectively.

Most Japonic languages mark singular and plural number, but some Northern Ryukyuan languages also have the dual. Most Ryukyuan languages mark a clusivity distinction in plural (or dual) first-person pronouns, but no Mainland varieties do so. The most common type of morphosyntactic alignment is nominative–accusative, but neutral (or direct), active–stative and (very rarely) tripartite alignment are found in some Japonic languages.

Proto-Japonic
The proto-language of the family has been reconstructed by using a combination of internal reconstruction from Old Japanese and by applying the comparative method to Old Japanese (including eastern dialects) and Ryukyuan. The major reconstructions of the 20th century were produced by Samuel Elmo Martin and Shirō Hattori.

Proto-Japonic words are generally polysyllabic, with syllables having the form (C)V. The following proto-Japonic consonant inventory is generally agreed upon, except that some scholars argue for voiced stops and  instead of glides  and : The Old Japanese voiced consonants b, d, z and g, which never occurred word-initially, are derived from clusters of nasals and voiceless consonants after the loss of an intervening vowel.

Most authors accept six Proto-Japonic vowels: Some authors also propose a high central vowel. The mid vowels and  were raised to i and u respectively in Old Japanese, except word-finally. Other Old Japanese vowels arose from sequences of Proto-Japonic vowels.

It is generally accepted that a lexical pitch accent should be reconstructed for Proto-Japonic, but its precise form is controversial.

title: Japonic languages


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Talk:Black Stone

Wrong or fabricated references. Recommend to remove sentence

Section 'History and Tradition'

"However, the silver frame was placed on the Black Stone to secure the fragments, after the original stone was broken.[31][32]"

I have checked both references 31 and 32

31 Burke, John G. (1991). Cosmic Debris: Meteorites in History. University of California Press. p. 222. ISBN 978-0-520-07396-8. 32 Hassan, Ashraf (1991). Cenap Çakmak (ed.). Islam: A Worldwide Encyclopedia [4 volumes]. ABC-CLIO. p. 262. ISBN 978-1-61-069217-5.

the statement made is firstly not discussed in the 2 books referenced (Hassan Ashraf's book is available on google books check page 262). Furthermore such a statement does not represent a majority view of scholars even if it was mentioned in some source (wrong representation).

In the interest of an honest representation of the matter at hand I recommend deletion of this unfounded/unreferenced statement. Alernatively a new section should be written to discuss the scholarly views on the framing of the black stone plus maybe architectural aspects of the Kaaba and its embedded artefacts.
 * — Preceding unsigned comment added by 94.175.143.75 (talk • contribs) 11:04, May 29, 2020 (UTC)

 * ❌:Regardless of the references, which you listed, the New Encyclopedia of Islam (pg. 246) says that "The Black Stone was repaired and held together by a silver band around the three pieces." I have added this as a reference to the claim. --FPTI (talk) 00:51, 27 May 2024 (UTC)

It was Prophet Abraham who placed it.
According to Islam, it is placed there By Prophet Abraham AS, Jibreel (Gabriel) brought it from heaven directly to Abraham who built the Kaaba. 69.94.41.101 (talk) 12:46, 3 December 2023 (UTC)

 * This tradition is already stated in the article as written. According to the New Encyclopedia of Islam, "Tradition says that Adam placed it in the original Ka'bah. Later it was hidden in the mountain of Abu Qubays. When Abraham rebuilt the Ka'bah, the Angel Gabriel brought the stone out and gave it to him." (pg. 91) -- FPTI (talk) 01:12, 27 May 2024 (UTC)

Semi-protected edit request on 30 January 2024
Kindly update the image where "Prophet Muhammad PBUH" is illustrated and put a flash on the face instead of imaginary image. Thank you. MFarooqi (talk) 15:12, 30 January 2024 (UTC)
 * Red information icon with gradient background.svg Not done: As the notice on the top of the talk page says, Attention: If you are here to talk about removing images of Muhammad from Wikipedia articles, please read this article carefully: WikiProject Islam/Images of Muhammad. Wikipedia is not censored. Thanks. The Herald (Benison) (talk) 15:22, 30 January 2024 (UTC)

Adam and Eve: Please remove this passage and its citation

The citation for the following "Islamic tradition holds that the Black Stone fell from Jannah to show Adam and Eve where to build an altar, which became the first temple on Earth" (Muhammad, Martin Lings, Chapter 1. The House of God) does not contain any reference to this story.

https://archive.org/details/muhammad_martin_lings_201911/page/n3/mode/2up?q=stone

130.44.167.72 (talk) 02:57, 1 April 2024 (UTC)

 * ✅ I have removed this citation and removed the sentences that may have been a hoax. If anyone can find anything about the Black Stone being the marker site for Adam to build an altar, I would appreciate it. The New Encyclopedia of Islam only says that Adam placed it in the original Kaaba. FPTI (talk) 00:36, 27 May 2024 (UTC)

History (Remove the illustration)
The illustration used in the history is not at all acceptable. And it's hurting Muslim sentiments. Kindly remove the illustration. 103.82.252.232 (talk) 09:55, 7 July 2024 (UTC)
 * As the notice on the top of the talk page says, Attention: If you are here to talk about removing images of Muhammad from Wikipedia articles, please read this article carefully: WikiProject Islam/Images of Muhammad. Wikipedia is not censored. Thanks. — The Herald (Benison) (talk) 11:17, 7 July 2024 (UTC)

History (Remove illustration) It’s hurting Muslim sentiments
It’s hurting Muslim sentiments. Remove the illustration. 103.82.252.232 (talk) 09:59, 7 July 2024 (UTC)
 * As the notice on the top of the talk page says, Attention: If you are here to talk about removing images of Muhammad from Wikipedia articles, please read this article carefully: WikiProject Islam/Images of Muhammad. Wikipedia is not censored. Thanks. — The Herald (Benison) (talk) 11:16, 7 July 2024 (UTC)

title: Talk:Black Stone


text:
Linton Kwesi Johnson

Linton Kwesi Johnson OD (born 24 August 1952), also known as LKJ, is a Jamaica-born, British-based dub poet and activist. In 2002, he became the second living poet, and the only black one, to be published in the Penguin Modern Classics series. His performance poetry involves the recitation of his own verse in Jamaican patois over dub-reggae, usually written in collaboration with reggae producer/artist Dennis Bovell.

Early life
Johnson was born in Chapelton, a small town in the rural parish of Clarendon, Jamaica. His middle name, "Kwesi", is a Ghanaian name that is given to boys who, like Johnson, are born on a Sunday. In 1963 he and his father came to live in Brixton, London, joining his mother, who had immigrated to Britain as part of the Windrush generation shortly before Jamaican independence in 1962. Johnson attended Tulse Hill School in Lambeth. While still at school he joined the British Black Panther Movement, helped to organise a poetry workshop within the movement, and developed his work with Rasta Love, a group of poets and drummers.

Johnson studied sociology at Goldsmiths College in New Cross, London, graduating in 1973. Speaking in a 2018 interview about his start as a poet, he said: "I began to write verse, not only because I liked it, but because it was a way of expressing the anger, the passion of the youth of my generation in terms of our struggle against racial oppression. Poetry was a cultural weapon in the black liberation struggle, so that's how it began." During the early to mid-1970s he was employed as the first paid library resources and education officer at the Keskidee Centre, where his poem Voices of the living and the dead was staged, produced by Jamaican novelist Lindsay Barrett, with music by the reggae group Rasta Love. Johnson has recalled: "it was fantastic, you know, having written something and having it staged with actors and musicians. That was back in 1973 before I had a poem published anywhere. That was before anyone had ever heard of Linton Kwesi Johnson."

Johnson wrote for New Musical Express, Melody Maker, and Black Music in the 1970s. As a freelancer for Virgin Records he wrote biographies for their reggae artists, sleeve notes and copy for adverts.

Poetry
Most of Johnson's poetry is political, dealing mainly with the experiences of being an African-Caribbean in Britain: "Writing was a political act and poetry was a cultural weapon...", he told an interviewer in 2008. However, he has also written about other issues, such as British foreign policy and the death of anti-racist marcher Blair Peach. Johnson wrote "Reggae fi Dada" on the death of his father in 1982, blaming social conditions. His most celebrated poems were written during the government of Prime Minister Margaret Thatcher. The poems contain graphic accounts of the racist police brutality occurring at the time (cf. "Sonny's Lettah"). Johnson's poetry makes clever use of the unstandardised transcription of Jamaican patois.

Johnson's poems first appeared in the journal Race Today, which published his first collection of poetry, Voices of the Living and the Dead, in 1974. Dread Beat An' Blood, his second collection, was published in 1975 by Bogle-L'Ouverture.

A collection of his poems has been published as Mi Revalueshanary Fren by Penguin Modern Classics. Johnson is one of only three living poets to be published by Penguin Modern Classics.

Essays
Johnson's essays, spanning 50 years (1976-2021), are collected in the volume Time Come (Picador, 2023). As described by Colin Grant, "The writing is often flinty and flecked with passion; taut and reasoned, but on the edge of fury. ...the grace and power of LKJ's writing are as necessary as ever." Reviewing it in the Sunday Times, Tomiwa Owolade concludes: "this volume emphasises the fact that Johnson is a dedicated cultural critic rather than simply an activist who happens to write dub poetry."

Music
Johnson's best-known albums include his debut Dread Beat an' Blood (1978), Forces of Victory (1979), Bass Culture (1980),  LKJ in Dub (1980), and Making History (1983). Across them are spread classics of the dub poetry school of performance – and of reggae itself – such as "Dread Beat An' Blood", "Sonny's Lettah", "Inglan Is A Bitch", "Independent Intavenshan" and "All Wi Doin Is Defendin". His poem "Di Great Insohreckshan" is his response to the 1981 Brixton riots. The work was the subject of a BBC Radio 4 programme in 2007.

Johnson's work, allied to the Jamaican "toasting" tradition, is regarded as an essential precursor of rap.

Johnson's record label LKJ Records, launched in 1981, is home to other reggae artists, some of whom made up the Dub Band, with whom Johnson mostly recorded, and other dub poets, such as Jean "Binta" Breeze. Past releases on the label include recordings by Mikey Smith.

Awards and honours
Johnson received a C. Day-Lewis Fellowship in 1977, and that year became writer-in-residence for the London Borough of Lambeth. He was made an Associate Fellow of Warwick University in 1985 and an Honorary Fellow of Wolverhampton Polytechnic in 1987, and in 1990 received an award at the XIII Premio Internazionale Ultimo Novecento from the city of Pisa for his contribution to poetry and popular music. In 1998 he was awarded the Premio Piero Ciampi Citta di Livorno Concorso Musicale Nazionale in Italy.

In 2003, Johnson was bestowed with an honorary fellowship from his alma mater, Goldsmiths College, University of London. In 2004 he became an Honorary Visiting Professor of Middlesex University in London. In 2005 he was awarded a silver Musgrave Medal from the Institute of Jamaica for distinguished eminence in the field of poetry. In 2012, he was awarded the Golden PEN Award by English PEN for "a Lifetime's Distinguished Service to Literature".

He is a Trustee of the George Padmore Institute (GPI), and is a contributor to the GPI's collection of dialogues Changing Britannia: Life Experience With Britain, edited by Roxy Harris and Sarah White (New Beacon Books, 1999).

In August 2014, it was announced that he would receive the Jamaican national honour of the Order of Distinction in October that year.

On 20 April 2017 he was awarded an Honorary Doctorate of Literature (D.Litt.) by Rhodes University in South Africa.

In July 2020, Johnson was awarded the PEN Pinter Prize – established in Harold Pinter's name to defend freedom of expression and celebrate literature – for his commitment to political expression in his work. Announcing the award, the judges described Johnson as "a living legend", "a poet, reggae icon, academic and campaigner, whose impact on the cultural landscape over the last half century has been colossal and multi-generational.... His political ferocity and his tireless scrutiny of history are truly Pinteresque, as is the humour with which he pursues them." Receiving the award at a live online event hosted by the British Library in October 2020, Johnson named Eritrean poet, poet, songwriter and journalist Amanuel Asrat as the "International Writer of Courage" with whom he would share the prize.

Johnson is chair of 198 Contemporary Arts and Learning, an art gallery and learning institution in Brixton.

Discography

 * Dread Beat an' Blood – Virgin, 1978 (as Poet and the Roots)
 * Forces of Victory – Island, 1979
 * Bass Culture – Island, 1980
 * The Best of Linton Kwesi Johnson – Epic, 1980 (compilation)
 * LKJ in Dub – Island, 1980
 * Making History – Island, 1983
 * Reggae Greats – Mango, 1984 (compilation)
 * In Concert with the Dub Band – LKJ Records, 1985
 * Dub Poetry – Mango, 1985 (compilation)
 * Tings an' Times – LKJ Records, 1991
 * LKJ in Dub: Volume 2 – LKJ Records, 1992
 * LKJ Presents – LKJ Records, 1996
 * A Cappella Live – LKJ Records, 1996
 * More Time – LKJ Records, 1998
 * Independant Intavenshan – Island, 1998 (compilation)
 * LKJ in Dub: Volume 3 – LKJ Records, 2002
 * Straight to Inglan's Head – Universal, 2003 (compilation)
 * Live in Paris – Wrasse, 2004

title: Linton Kwesi Johnson


text:
Talk:Quadratic form

Why my contribution was deleted without any attempt of consensus?
You are not encouraging new editors.

DIFF: http://en.wikipedia.org/w/index.php?title=Quadratic_form&action=historysubmit&diff=328339698&oldid=327825192

Arcfrk: if you find it "unhelpful/confusing", why didn't you ask first for a better solution. We can clarify or expand the remark. It is a sufficiently relevant fact.

What if a revert your change arbitrarily as you did? Wikipedia can't work that way.

Sorry for my bad english.

Francisco Albani (talk) 01:32, 29 November 2009 (UTC)

 * I would certainly prefer to see this discussed at symmetric bilinear form. It is clearer to understand the relationship between general and symmetric bilinear forms as one step, with the remark that the semi-sum symmetrization depends on being able to divide by 2 in the field; and then the relationship between symmetric bilinear forms and quadratic forms as another step. If you can divide by 2 freely there is no problem; but that is not always the case in this subject. Charles Matthews (talk) 09:25, 29 November 2009 (UTC)
 * This discussion clears up my confusion about the earlier statement, "there is a one to one correspondence between quadratic forms and symmetric matrices that determine them."
 * The article assumes the matrices are symmetric, without offering a reason. This should be fixed.    Comfr (talk) 18:14, 29 June 2022 (UTC)
 * I have added some clarification. If some other assertion is confusing, you have to be more precise in the localization of the assertion in the article. D.Lazard (talk) 18:26, 29 June 2022 (UTC)

non-singular or non-degenerate quadratic form
I don't think non-singular is defined correctly for the quadratic form. Orthogonal_group defines the orthogonal group to be linear transformations that preserve some non-singular quadratic form. So I assume this is what's called a non-degenerate quadratic form in the literature I've read. Here's how I've seen it before:

 * A quadratic form is non-singular (non-degenerate) if the kernel of the associated bilinear form is anisotropic. —Preceding unsigned comment added by Somethingcompletelydifferent (talk • contribs) 15:20, 11 April 2010 (UTC)

 * Well, since q(x) = b(x,x), the restriction of the quadratic form q to the kernel of b is identically zero. So the only way for ker b to be anisotropic is if it only contains zero vector, i.e. ker b = 0. Do you have a reference? Does it have anything to do with characteristic 2 or modules over a ring? In both cases, the definitions of the associate bilinear form and of "non-degenerate" need to be modified. Arcfrk (talk) 03:51, 13 April 2010 (UTC)

Unfortunately q(x)=b(x,x) only when char !=2. In characteristic 2 there is a difference. In fact there are bilinear forms in characteristic 2 that are not the associated bilinear form to any quadratic form :) —Preceding unsigned comment added by 98.30.181.0 (talk) 15:51, 16 April 2010 (UTC)

 * Sorry thought I was signed in above. Is my comment —Preceding unsigned comment added by Somethingcompletelydifferent (talk • contribs) 15:55, 16 April 2010 (UTC)

Well, since you agree that it's a characteristic 2 issue, why don't you write a section dedicated to char 2 case, as you previously indicated you wanted to? It is certainly needed for the completeness of coverage! Think it through and give all the necessary definitions and theorems. In the meantime, please, do not insert definitions/statements inconsistent with the rest of the text. All of the present section is dealing with characteristic NOT 2, as prominently displayed just a short while before. In particular, the term "associate bilinear form" has a precise meaning, q(x)=b(x,x), and your way of phrasing the definition of nonsingular simply does not work in this context. Arcfrk (talk) 06:02, 24 April 2010 (UTC)

"intentional" space
Arcrfk, you insist on keeping a space at the beginning of a line to set the following in typewriter text: "Let us assume that the characteristic of K is different from 2." If you feel strongly that it should be set in its own text box, fine, but there is no reason to set it in typewriter text. It is completely nonstandard within Wikipedia. I don't see why it can't just be its own line without anything special to set it off, but setting it typewriter text is just wrong. —Ben FrantzDale (talk) 14:15, 22 October 2010 (UTC)

geometric meaning
Can someone related the quadratic form to geometric meaning. when it is positive definite, it is ellipsoid? what condition corresponds to hyperboloid (elliptic or parabolic) or paraboloid???

Suppose the equation is $$x^TAx=1$$, then it seems that
 * if the matrix can be turned into a diagonal matrix, then it is an ellipsoid or a hyperboloid. If all the eigen values are non negative, then it is an ellipsoid, if some eigen values are negative, then it is a hyperboloid. If the matrix can not be turned into a diagonal one, then it is a paraboloid (either elliptic or hyperbolic). If all the eigen values are non negative, then it is elliptic, if some eigen values are negative, then it is hyperbolic).

Jackzhp (talk) 14:55, 13 February 2011 (UTC)

"Jacobi's Theorem
This article mentions "Jacobi's Theorem" under "Real Quadratic Forms" but doesn't link that to anywhere and when I search for jacobi's theorem in wikipedia, I don't see a disambiguation link for this use of the term.

Bill Smith (talk) 19:17, 20 January 2013 (UTC)

 * It refers to this sentence a few lines earlier:
 * A fundamental theorem due to Jacobi asserts that q can be brought to a diagonal form
 * Deltahedron (talk) 19:49, 20 January 2013 (UTC)

What is a "form"?
Is form being used here to refer to a particular arrangement of something else, as in an ice cube is water in a frozen and cubic form? Or is form a thing in its own right, as in a form for shaping concrete? Or??? Gwideman (talk) 09:15, 22 February 2021 (UTC)
 * A form in linear algebra refers to a scalar-valued function of vectors, usually linear or quadratic, and always a homogeneous polynomial. Further questions should be asked at WP:RDMA.--Jasper Deng (talk) 09:32, 22 February 2021 (UTC)
 * Why should questions about the wording of this page be directed to WP:RDMA? Gwideman (talk) 14:18, 22 February 2021 (UTC)
 * However, the previous first sentence may be confusing for some readers, and I have edited it per WP:LEAST for linking to the general definition (form (mathematics)). D.Lazard (talk) 09:46, 22 February 2021 (UTC)
 * That's a helpful improvement. So here form is unrelated to the form in sentences like "a polynomial written in factored form". Gwideman (talk) 14:16, 22 February 2021 (UTC)
 * Yes, in this sentence, "form" is a term of mathematical jargon that must be viewed as a synonym of "shape". D.Lazard (talk) 16:34, 22 February 2021 (UTC)

Generalization?
In the generalization section, it asserts that for any quadratic form, there exists an R-bilinear form b : M × M → R such that q(v) is the associated quadratic form.

Is this correct, for an arbitrary module M? I can only see how to do it when M is projective. It would be nice to have a citation.

Hasire (talk) 23:29, 22 July 2021 (UTC)

Quadratic spaces
Why introducing the map Q? What does it tell more than q does? Apparently Q=q. Madyno (talk) 10:40, 20 November 2022 (UTC)

 * I have rewritten the beginning of the section for clarifying that. Also, the section is called now . D.Lazard (talk) 15:06, 20 November 2022 (UTC)
 * I don't understand. The quadratic form $$q:V\to K$$ is the same type of function as $$Q:V\to K$$; both accept as their arguments an element of $$V$$. If $$V = K^n$$ the elements of $$V$$ are the n-tuples $$(v_1,\ldots,v_n) \in K^n$$, which has nothing to do with the standard basis. Then a value of $$q$$ is $$q((v_1,\ldots,v_n))$$. Madyno (talk) 17:21, 28 November 2022 (UTC)

Subsequent identical terms
@Anita5192 Hi, in the sentence: "The study of particular quadratic forms, in particular the question of whether a given integer can be the value of a quadratic form over the integers"

There exists two subsequent "particular" terms. This is not grammatically wrong, but it is better that one of them become "specially". Thanks, Hooman Mallahzadeh (talk) 14:42, 22 March 2023 (UTC)

 * —Anita5192 (talk) 14:52, 22 March 2023 (UTC)

title: Talk:Quadratic form


text:
Safe house

A safe house (also spelled safehouse) is a dwelling place or building whose unassuming appearance makes it an inconspicuous location where one can hide out, take shelter, or conduct clandestine activities.

Historical usage
It may also refer to:

 * in the jargon of law enforcement and intelligence agencies, a secure location, suitable for hiding witnesses, agents or other persons perceived as being in danger
 * a place where people may go to avoid prosecution of their activities by authorities. Osama bin Laden's compound in Abbottabad has been described as a "safe house".
 * a location where a trusted adult, family or charity organization provides a haven for victims of domestic abuse (see also: men and/or women's shelter or refuge)
 * a home of a trusted person, family or organization where victims of war and/or persecution may take refuge, receive protection and/or live in secret
 * a house whose sole purpose is to conduct illegal ventures. Criminals use these to conduct different aspects of their business, such as produce, sell, or store product.
 * Right of asylum
 * sanctuary in medieval law
 * sanctuary in modern times
 * Church asylum

Typically, the significance of safe houses is kept secret from all but a limited number of people, for the safety of those hidden within them.

Many religious institutions will allow one to obtain sanctuary within one's place of worship, and some governments respect and do not violate such sanctuary.

Safe houses were an integral part of the Underground Railroad, the network of safe house locations that were used to assist slaves in escaping to the primarily northern free states in the 19th century United States. Some houses were marked with a statue of an African-American man holding a lantern, called "the Lantern Holder".

Safe houses also provided a refuge for victims of Nazi persecution and for escaping prisoners of war. Victims, such as Anne Frank and her family, were harbored clandestinely for extended periods of time. Other Jewish victims that were hidden from the Germans include Philip Slier and his extended family and friends.

title: Safe house


text:
User:Christianrubiales

Christian Rubiales
Software Developer FBM e-Services, Inc.

Master in Information Systems (candidate), 2004-present University of the Philippines Open University

Bachelor of Science in Computer Science, 1998-2003 University of the Philippines at Los Baños

title: User:Christianrubiales