text:
Somewhere in Time (Iron Maiden album)

Somewhere in Time is the sixth studio album by English heavy metal band Iron Maiden. It was released on 29 September 1986 in the United Kingdom by EMI Records and in the United States by Capitol Records. It was the band's first album to feature guitar synthesisers.

Since its release, Somewhere in Time has been certified platinum by the RIAA, having sold over one million copies in the US. Somewhere on Tour was the album's supporting tour. In 2023, it was made the focus of the Future Past World Tour, alongside 2021's Senjutsu.

Background
Somewhere in Time is the band's first studio effort following the extensive World Slavery Tour of 1984–85, which was physically draining for the group, lasting 331 days and comprising 187 concerts. The resulting exhaustion is credited as the main factor in the complete lack of songwriting contributions from lead vocalist Bruce Dickinson, whose material was rejected by the rest of the band. Dickinson had written several "acoustic-based" songs, explaining that "I felt we had to come up with our Physical Graffiti or Led Zeppelin IV ... we had to get it onto another level or we'd stagnate and drift away", although bassist and primary writer Steve Harris "thought he'd lost the plot completely", surmising that "he was probably more burnt out than anyone at the end of that last tour". On the other hand, the record is also notable for the number of "fully formed" songs written by guitarist Adrian Smith, who wrote both of the album's singles: "Wasted Years" and "Stranger in a Strange Land", the former of which is the only song on the record not to feature synthesisers.

Following the World Slavery Tour, the group were given four months to recuperate, with Harris, Smith and guitarist Dave Murray spending the time experimenting with new equipment. The result was a marked change in sound for Iron Maiden, as it was their first to use guitar synthesisers, although on their next release, 1988's Seventh Son of a Seventh Son, the effects were provided by keyboards instead. Given their time off, this was their first studio album not to be released a year after their previous one, the band insisting that they have more time "to get it right without hurrying for a change", comments Harris. It was also one of their most expensive records, with the bass and drums recorded in the Bahamas, the guitars and vocals recorded in The Netherlands and the mixing taking place in New York.

Although "space and time" are common themes throughout the release, with songs such as "Wasted Years", "Caught Somewhere in Time", "Stranger in a Strange Land" and "Deja-Vu", the band never intended for it to be a concept album, with Harris stating, "We certainly never went in there and said, 'Right let's write a load of songs on the subject of time. While the majority of the release's songs have disappeared from the band's live shows shortly after its supporting tour, "Wasted Years" and "Heaven Can Wait" have appeared on several subsequent tours. On 28 May 2023, nearly 37 years after the album's release, Iron Maiden performed "Alexander the Great" live for the first time.

The 2008 tribute CD Maiden Heaven: A Tribute to Iron Maiden, released by Kerrang! magazine, features covers of two of the album's songs; "Wasted Years" by DevilDriver and "Caught Somewhere in Time" by Madina Lake.

Cover artwork
The cover for Somewhere in Time, created by the band's then-regular artist Derek Riggs, displays a muscular cyborg-enhanced Eddie in a futuristic, Blade Runner-inspired environment. Much like the cover of Powerslave, the wraparound album cover holds a plethora of references to earlier Iron Maiden albums and songs, such as:

 * The street sign on the corner where Eddie is standing reads Acacia (partially obscured), a reference to the song "22 Acacia Avenue" from The Number of the Beast (1982).
 * Below "Acacia" is a poster of Eddie from the first album, with graffiti reading "Eddie lives" written on it. Torn posters are also featured on the "Sanctuary" and "Women in Uniform" singles.
 * A banner with the words "This is a very boring painting" is displayed backward within the lobby of the Bradbury Towers Hotels International. This can be seen to the left of Eddie's right leg.
 * In the very centre, just above the "Department" sign and behind the cable going to the cyborg's weapon, there is a small vertical phrase in red neon, which reads "Меня Рвёт" [Menya Rvyot], Russian for "I'm vomiting" — or more literally, "it's tearing me up", depending on the context.
 * An Eye of Horus neon sign is at the top of a building, a reference to the song "Powerslave" from the 1984 album of the same name.
 * To the right of Eddie's left leg there is a rubbish bin attached to a lamppost, identical to the one seen on the cover of the Iron Maiden album.
 * The haloed black cat from the back cover of Live After Death (1985) is on the pavement behind Eddie.
 * Below the Eye of Horus is the name, "Websters", a tribute to Charlie Webster, EMI's art director.
 * Derek Riggs' artistic signature symbol can be found on Eddie's chest.

References on the back include:
 * A clock reading 23:58 ("2 Minutes to Midnight").
 * Below the clock there is a sign which reads "Phantom Opera House", in reference to the song "Phantom of the Opera" from the first album.
 * The words "Bollocks again & again" appear just below the "Phantom Opera House".
 * A building on the left side carries the sign, "Aces High Bar", a reference to the song of the same name.
 * Flying over the "Aces High Bar" is a Spitfire from the "Aces High" cover.
 * To the left of the "Aces High Bar" are four letters in yellow and green. These are Hebrew letters spelling out the name of God, namely יהוה, Jehovah/Yahweh.
 * Below the "Aces High Bar", is a sign that reads "Sand Dune" in reference to their song "To Tame a Land," from Piece of Mind (1983), based on the novel Dune.
 * Many pyramids appear in the background, a reference to the Powerslave album.
 * Among the pyramids is a grim reaper similar to that which appears on the covers of "The Trooper" and Live After Death.
 * The marquee for the cinema reads Blade Runner, the film which inspired the album's cover. It also reads "Live After Death", the name of their 1985 live album.
 * The cinema is named "Philip K. Dick Cinema", named after the author of Do Androids Dream of Electric Sheep?, the book on which the film Blade Runner was based.
 * More Blade Runner references include "Dekkers Department Stores" and a "Tyrell Corp" sign.
 * In the background, "Bradbury Towers" can be seen, a reference to the Bradbury Building which is prominent in Blade Runner.
 * To the right of the clock is a neon sign which reads "Ancient Mariner Seafood Restaurant", a reference to the song "Rime of the Ancient Mariner" from the Powerslave album.
 * On the bottom left hand side of the cover is "The Ruskin Arms", famous for being one of the first venues in which Iron Maiden performed.
 * On the second floor of the "Ruskin Arms" building is a woman sitting in a red lit room which, a reference to Charlotte the Harlot, a repeated character in the band's songs.
 * Just above "The Ruskin Arms" is a neon sign that reads "Rainbow", another famous venue where Iron Maiden recorded a video in 1980.
 * Above and to the left of the "Rainbow" sign is a neon sign reading "L'Amours Beer Gardens", a reference to the "L'Amours" rock venue which Iron Maiden once played in Brooklyn, New York.
 * On the roof of the same building is the TARDIS from the BBC TV series Doctor Who. The TARDIS is also featured on the cover of the "Wasted Years" single.
 * Above the Bradbury Towers neon sign is Icarus in flames falling from the sky, in the same style of the cover for the band's 1983 single "Flight of Icarus". According to Riggs, Icarus is supposed to look like the logo used by Swan Song Records, a label founded by Led Zeppelin.
 * On the walkway above the clock is an electronic sign that says "LATEST RESULTS.......WEST HAM 7........ARSENAL 3", a nod to Steve Harris who is a West Ham United supporter.
 * At the right edge below, just near the band, there is another sign in Russian – Кефир ("KEFIR").
 * Just above the "KEFIR" sign is a street sign reading "Upton Park," which was the name of West Ham's former stadium.
 * There is a sign which reads "Tonight: Gypsy's Kiss", a reference to Harris' first band.
 * On the right side, above the "Bradbury Towers" sign, is a sign in Japanese, "浅田　彰," which refers to a notable Japanese philosopher, economist and critic, Akira Asada.
 * To the right of the pyramids is a sign reading "Long Beach Arena," which is where most of the Live After Death live album was recorded.
 * The Syncom sign refers to the 1961 NASA program of the same name.
 * The neon sign above the band reads "Maggies Revenge" and refers to British Prime Minister Margaret Thatcher, who appears on the cover of the "Sanctuary" and "Women in Uniform" singles.
 * One of the buildings is labelled "Asimov Foundation", a reference to the Foundation series by Isaac Asimov.
 * A character wearing a large cloak stands above the walkway's right side, which Riggs claims is Batman.
 * Above and slightly to the right of the cloaked character reads more Hebrew lettering, "ג'ין" (Gin, in English).
 * On the right side of the walkway and just above the "Latest Results" sign is the bracket that holds Eddie's skull together from the Piece of Mind album onwards, which Riggs drew as a cartouche.
 * In the bottom right hand corner all five members of the band are standing in a line. Dickinson is holding a brain, a reference to Piece of Mind, and drummer Nicko McBrain is wearing aviator goggles (he had a pilot's license by this time, long before Dickinson) and a T-shirt that says "Iron What?". According to Riggs, the band complained because the pictures of themselves were not accurate enough.
 * To the right of "Long Beach Arena" is a sign which reads "Hammerjacks", a night club and concert hall in Baltimore frequented by the band.
 * Below Hammerjacks is a sign that reads "Tehe's Bar", which is where the choir vocals in the middle of "Heaven Can Wait" were recorded.
 * To the left of the clock is a sign that reads "Herbert Ails", a reference to the author Frank Herbert who wrote the book, "Dune," upon which the Iron Maiden song, "To Tame a Land", is based. Herbert had also died that same year, explaining the word "Ails". The reference also refers to the unfriendly response the band received from Herbert (via his agent) regarding permission to use "Dune" as the song's title.
 * Beneath the Phantom Opera House sign, there is a sign that reads "EMI REC.". All of the band's albums, outside North America, have been released by EMI Records.

Riggs came up with all the in-jokes and references and it took him 3 months to complete the 15x32 inch painting. The process wore him out completely as he underestimated the complexity of the artwork and said he would never paint anything this convoluted ever again.

Personnel
Production and performance credits are adapted from the album liner notes.

Iron Maiden

 * Bruce Dickinson – lead vocals
 * Dave Murray – guitars, guitar synthesiser
 * Adrian Smith – guitars, guitar synthesiser, backing vocals, lead vocals on "Reach Out"
 * Steve Harris – bass, bass synthesizer
 * Nicko McBrain – drums

Production

 * Martin "Masa" Birch – producer, engineer, mixing, tape operator
 * Bruce Buchhalter – second engineer
 * Sean Burrows – assistant engineer (Compass Point Studios)
 * Albert Boekholt – assistant engineer (Wisseloord Studios)
 * Ronald Prent – assistant engineer (Wisseloord Studios)
 * George Marino – mastering engineer
 * Derek Riggs – sleeve illustrations
 * Aaron Rapoport – photography
 * Rod Smallwood – management, sleeve concept
 * Andy Taylor – management
 * Hugh Gilmour – reissue design (1998 edition)

title: Somewhere in Time (Iron Maiden album)


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Talk:Alter ego

Comics
has info on alter egos in comic books

Doppelganger
I thought a doppelganger was someone who looked exactly like you, but was in fact a completely different person? I thought it was almost exclusively used to describe a fictitious person that exists somewhere in the universe, that looks exactly like you (as if a twin), of whom you are either unaware or whom you might meet only by some astronomically unlikely chance OR ALSO to describe well known (celebrities) persons that look very much alike. such that they are often confused with each other.

Wheres, an alter ego, as presented in this article with examples, describes the same person having two distinct characters, that in most cases, look and act nothing alike, and are often not known to be the same person. (David Bowie, Hannah Montana, Dr Jekyl) SquashEngineer (talk) 13:14, 4 October 2022 (UTC)

 * I removed the reference. It could be added back in as a "compare with" but I don't think it's appropriate as a translation. Cerulean Depths (talk) 19:35, 22 September 2023 (UTC)

El Filibusterismo
Can you please add the fact that Crisostomo Ibarra had a false identity in Fili called Simoun? Edward Zeke Rivera (talk) 09:18, 10 February 2024 (UTC)

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

title: Talk:Alter ego


text:
Gabriele Rossetti

Gabriele Pasquale Giuseppe Rossetti (28 February 1783 – 24 April 1854) was an Italian nobleman, poet, constitutionalist, scholar, and founder of the secret society Carbonari.

Rossetti was born in Vasto in the Kingdom of Naples. He was a Roman Catholic. His support for Italian revolutionary nationalism forced him into political exile in England in 1821.

Early career and exile
Rossetti's first edition of poems was printed in 1807 by Giovanni Avalloni, who offered to have Rossetti's poems published after hearing him recite a few passages. Throughout his early career, Rossetti published poems that were "patriotic" and supported the "popular movement" in Sicily which resulted in him receiving a grant from Ferdinand I of the Two Sicilies in 1820. When the king revoked the constitution in 1821, many supporters of the constitution were persecuted, but Rossetti instead was forced into exile in Malta for three years before a British admiral of the Royal Navy sent Rossetti to London in 1824. He held the post of Professor of Italian at King's College London from 1831, as well as teaching Italian at King's College School, until failing eyesight led to his retirement in 1847.

Works
Rossetti's published works include literary criticism, Romantic poetry such as his long poem Il veggente in solitudine of 1846, and his Autobiography. He is thought to be the basis of the character Pesca in Wilkie Collins' 1860 novel The Woman in White. He also wrote commentaries on Dante Alighieri in which he attempted to show evidence of mysterious ancient conspiracies in his works.

Personal life
In 1826 he married Frances Mary Lavinia Polidori, daughter of another Italian exile Gaetano Polidori, and they had four children, all distinguished writers or artists:

 * Maria Francesca Rossetti
 * Dante Gabriel Rossetti
 * William Michael Rossetti
 * Christina Georgina Rossetti

Rossetti died on 24 April 1854 in London, aged 71, and is buried on the western side of Highgate Cemetery, adjacent to the grave of Elizabeth Madox Brown, the first wife of Ford Madox Brown. Later burials in the Rossetti family grave are Elizabeth Siddal, wife of Dante Gabriel Rossetti (1862), Frances Rossetti, wife of Gabriele (1886), Christina Georgina Rossetti (1895) and William Michael Rossetti (1919). The ashes of four grandchildren have also been buried in the grave.

title: Gabriele Rossetti


text:
Template talk:Nsd

Usage: - this will do the right thing with Template:No source.

 * An archive of old, inactive discussion is at /archive1.

Distinguishing source and copyright holder
The source of an image (i.e. the image creator) and the copyright holder of an image are not necessarily the same. Am I correct in thinking that all what is needed to establish the validity of a particular license is the identity of the copyright holder, and that the source is irrelevant here? If this is correct, then I think that the wording in this template should reflect this, and not imply that an image whose copyright holder is known but whose source is not should be deleted. Lupin|talk|popups 03:56, 4 August 2006 (UTC)
 * Establishing the copyright holder is the important part, yes, with the source being used to verify that. That said, it's a pretty fine distinction to be asking for, when most people can't tell the difference between an image, the subject of that image, the use of the image, and the source of the image. --Carnildo 08:55, 4 August 2006 (UTC)

Idea for a change
To simplify this template, perhaps we could take some ideas from Template:No copyright holder. Stifle (talk) 00:06, 10 August 2006 (UTC)

Subst a week from today
Please replace  with. There's no reason for the template to exist anymore, with the new time function. —Simetrical (talk • contribs) 07:47, 27 August 2006 (UTC)
 * I changed it to, because 11-09-2006 gives a red link: 11-09-2006, while 2006-09-11 renders as the user's preferred date format: 2006-09-11. Angr 06:56, 4 September 2006 (UTC)

Sourcing private press websites?
I got Image:Nbc apprentice2 donald trump.jpeg from a private press website run by NBC. I had access to it when I was a reporter for Suite101.com, but have since voluntarily resigned access. Since it is private, what is the use of adding an exact source? Can I get away with just saying "private NBC press website"? -- Zanimum 14:55, 12 September 2006 (UTC)

Proposed edit
See User:Poccil/nosource. I have modified the template so it displays a speedy deletion notice seven days after the specified date on the template. See this diff for a demonstration. -- Peter O. (Talk) 07:27, 13 September 2006 (UTC)
 * That would place lots of images in CAT:CSD. I think this is not a good idea, the existing categories like Category:Images with unknown source as of 4 September 2006 are enough. CAT:CSD is sufficiently backlogged already without more automatic additions of images. Kusma (討論) 14:43, 13 September 2006 (UTC)

 * It may appear to be the case at first. Once the current backlog (not of speedy deletions but of unsourced images) is cleared, a more steady flow of additions should occur.  Until so, my proposed edit should wait.  Another proposal is to change the category for the images.  Peter O. (Talk) 15:42, 13 September 2006 (UTC)

 * This change will break OrphanBot's processing of unsourced images. --Carnildo 19:33, 13 September 2006 (UTC)
 * Is there a way to accommodate my change and allow your bot to still work correctly? Peter O. (Talk) 20:48, 13 September 2006 (UTC)

Regarding the recent updates
Looks good, however please note above, the wikifying of the date seems to have thrown OrphanBot for a loop. Unless Carnildo can re-write the bot in a hurry we'll have to either block it or temporarily revert the template before all the older subcats are emptied out and shoved along into the current cat over and over (today's cat is up to 5 pages already...).

To ensure efficnet OrphanBot operations it's a good idea to give Carnildo a heads up before any major changes are made so he can adapt the bot to recognize the new template version... --Sherool (talk) 15:18, 10 October 2006 (UTC)

 * Actually, major edits are usually fine. It's the minor ones that cause problems. --Carnildo 19:30, 10 October 2006 (UTC)

 * Heh, any plans to make the bot more robust though (would it work to parse the actual category link, or maybe use ?action=raw and check the actual wikicode rather than spesificaly formated HTML output, or even generate a HTML comment just for the benefit of the bot or things like that)? It would be nice to be eable to edit the templates without having to worry about tripping up OrphanBot in the process. --Sherool (talk) 20:04, 10 October 2006 (UTC)

 * The bot will now fall back to checking the category if it can't get the date from the template. The reason for working from the rendered page rather than the raw wikicode is that the code only includes the date, while the final page also includes the upload history (needed for notifying the uploader) and the image links (needed if the bot is going to remove the image from use). --Carnildo 01:17, 11 October 2006 (UTC)

 * Sorry for the inconvenience. The reason I was adding more markup was actually to ease parsing by bots. —Quarl (talk) 2006-10-10 20:08Z

Help for the recipient
This template includes no pointer toward how to include source information, or further information on the problem. nld links directly to Image_copyright_tags, where lack of copyright is addressed. I've yet to find a good match containing details on how to source an image, perhaps Cite_your_sources (just created)? Image_use_policy? Even the image source user_talk notice seems to lack in this regard. ∴ here…♠ 08:28, 8 December 2006 (UTC)

CSD I7
Could someone edit the template message to reflect WP:CSD, that all new images being used under fair use needs all the proper info (per WP:FUC), including source, or they'll be deleted in 48 hours, instead of one week. Something like this:

-- Ned Scott 03:40, 3 January 2007 (UTC)

 * Done. If you have any questions, please contact me at my talk page. Ian Manka 03:52, 3 January 2007 (UTC)
 * Thanks. -- Ned Scott 04:06, 3 January 2007 (UTC)

Interwiki
editprotected
 * Plz, add ru-wiki . Alex Spade 13:39, 30 April 2007 (UTC)
 * ✅ Done --ais523 13:44, 30 April 2007 (UTC)

Date substitution
I don't know template programming. Hopefully someone here can help. I think it would be nice to replicate whatever no rationale is doing here. ~ Bigr  Tex  20:27, 17 May 2007 (UTC)
 * If you look at an image that has had no rationale on it for a couple of days, the speedy-image-c cut-n-paste helper has the date that the image is scheduled to be deleted.
 * If you look at an image that has had no source on it for a couple of days, the speedy-image-c cut-n-paste helper has the date that the image would be scheduled to be deleted if it had been tagged today.

interwiki link
editprotected

Please add :th:แม่แบบ:ไม่มีแหล่งที่มา for Thai interwiki link. Thanks --Jutiphan | Talk  - 15:35, 7 June 2007 (UTC)
 * ✅ Done --ais523 15:45, 7 June 2007 (UTC)

Code Update
editprotected Could a templatey administrator change this      to this      at Template:Nsd? In fact, once this change has been carried out, it can be changed to this    instead. Thanks.  Set Sail For The Seven Seas   332° 22' 30" NET   22:09, 4 August 2010 (UTC)
 * What is the purpose of the change ? —Th e DJ (talk • contribs) 15:30, 5 August 2010 (UTC)
 * These updates add the following changes to the template:
 * Updating the substitution check code to a more efficient version.
 * Moving categories and interwiki links to the documentation subpage.
 * Optimising the demo display on the Template:Nsd page to use Template:Tlp, simplifying the code.
 * Removing the redundant page protection template, which is already included as part of the documentation.
 * Updating the date parameters to use existing date templates rather than variables, simplifying the code.
 * Thanks.  Set Sail For The Seven Seas   251° 26' 30" NET   16:45, 5 August 2010 (UTC)

✅ —Th e DJ (talk • contribs) 15:15, 7 August 2010 (UTC)

title: Template talk:Nsd


text:
User:Reference Super Index True

Dr Paul Malcolm Professor of Accelerated Learning University of South Australia, Australia.

Super Reference Indexs:

Domain Name Registrations Jordan http://www.nis.gov.jo/procedures/domain.html

Israel http://www.isoc.org.il/

Cypress

Free Web Servers http://www.thefreesite.com/Free_Web_Space/

title: User:Reference Super Index True


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Beyond Good & Evil (video game)

Beyond Good & Evil is a 2003 action-adventure game developed and published by Ubisoft for PlayStation 2, Windows, Xbox, and GameCube. The story follows the adventures of Jade, an investigative reporter, martial artist, and spy hitwoman working with a resistance movement to reveal a sinister alien conspiracy. Players control Jade and other allies, solving puzzles, fighting enemies, obtaining photographic evidence and, later in the game, travelling to space.

Michel Ancel, creator of the Rayman series, envisioned the game as the first part of a trilogy. The game was developed under the codename "Project BG&E" by 30 employees of Ubisoft's studio divisions in Montpellier and Milan, with production lasting more than three years. One of the main goals of the game is to create a meaningful story while giving players much freedom, though the game adopts a relatively linear structure. The game was received poorly when it was shown at E3 2002, and it prompted the developers to change some of the game's elements, including Jade's design. Ancel also attempted to streamline the game in order to make it more commercially appealing.

Beyond Good & Evil received generally favorable reviews upon release, with critics praising the game's animation, setting, story and design, but criticizing its combat and technical issues. The game received a nomination for "Game of the Year" at the 2004 Game Developers Choice Awards. While the game was considered a commercial failure at launch, it has since developed a cult following and is even considered by some to be one of the greatest video games ever made.

A full HD remastered version of the game was released on Xbox Live Arcade in March 2011 and on PlayStation Network in June 2011. A prequel, Beyond Good and Evil 2, is in development and was announced at E3 2017. A hybrid live-action/animated film adaptation is currently in the works at Netflix. Another remaster, titled the 20th Anniversary Edition, was released on June 25, 2024.

Gameplay
Beyond Good & Evil is an action-adventure game with elements of puzzle-solving and stealth-based games. The player controls the protagonist, Jade, from a third-person perspective. Jade can run, move stealthily, jump over obstacles and pits, climb ladders, push or bash doors and objects, and flatten herself against walls. As Jade, the player investigates a number of installations in search of the truth about a war with an alien threat.

In the game's interior spaces, the player solves puzzles and makes their way past enemies in order to reach areas containing photographic evidence. Jade's main tools are her Daï-jo combat staff (a melee weapon), discs for attacking at range, and a camera. Jade's health, represented by hearts, decreases when hit by enemy attacks. It can be restored using fictional food items and can be increased beyond the maximum with "PA-1s" that, when held by Jade or her companions, increases their life gauge by one heart. If Jade's health is depleted, the game will restart at the last checkpoint. Certain stealth segments later in the game can automatically kill Jade if she is detected. Most stealth elements allow Jade to fight for her life if she is detected, but it's more difficult to survive this way.

At times, it is only possible to advance in the game with the help of other characters. These characters are computer-controlled, and players direct them via contextual commands. For example, the player can order them to perform a "super attack", either pounding the ground to bounce enemies into the air, allowing the player to hit them from long distances, or knocking them off balance, making them vulnerable to attack. These allies possess a health bar and are incapacitated if it is depleted. Jade can share some of her items, such as PA-1s, with these characters.

In addition to obtaining evidence and completing assignments, Jade's camera can take pictures of animal species in exchange for currency, and scan objects to reveal more information about the environment. When the "Gyrodisk Glove" is obtained, Jade can attack enemies or activate devices from a distance by using the camera interface. There are also various minigames and sub-missions offered by NPCs scattered throughout the world.

A hovercraft is used to travel around the world, and also used for racing and in other minigames. Later, the spaceship Beluga is acquired. The hovercraft can dock with the spaceship. Both vehicles require upgrades in order to reach new areas and progress through the game. Upgrades are purchased using pearls that are collected throughout the game, by completing missions, exploring areas, filling in the animal directory or by trading credits for them. The vehicles have a boost ability, and can be repaired using a "Repair Pod" if damaged by enemies.

Setting and characters
Beyond Good & Evil takes place in the year 2435 on the mining planet of Hillys, located in a remote section of the galaxy. The architecture of the city around which the game takes place is rustic European in style. The world itself combines modern elements, such as email and credit cards, with those of science fiction and fantasy, such as spacecraft and anthropomorphic animals coexisting with people. As the game begins, Hillys is under siege by aliens called the "DomZ", who abduct beings and either drain their life force for power or implant them with spores to convert them into slaves. Prior to the opening of the game, a military dictatorship called the "Alpha Sections" has come to power on Hillys, promising to defend the populace. However, the Alpha Sections seem unable to stop the DomZ despite its public assurances. An underground resistance movement, the IRIS Network, fights the Alpha Sections, believing it to be in league with the DomZ.

Beyond Good & Evil's main protagonist, Jade (voiced by Jodi Forrest), is a young photojournalist. Uncle Pey'j (voiced by David Gasman), a boar-like creature, is Jade's best friend, with whom Jade resides in an island lighthouse that doubles as a home for children orphaned by DomZ attacks, whom they care for. Double H, a heavily built human IRIS operative, assists Jade during missions. He wears a military-issue suit of armor at all times. Secundo, an artificial intelligence built into Jade's storage unit, the "Synthetic-Atomic-Compressor" (SAC), offers advice and "digitizes" items. The main antagonists are the DomZ High Priest, who is the chief architect of the invasion, and Alpha Sections leader General Kehck, who uses propaganda to gain the Hillyans' trust, even as he abducts citizens to sustain the DomZ.

Story
Jade and Pey'j are taking care of the children of Hillys orphaned by the DomZ. When meditating with one of the orphans outside, a DomZ siren sounds. Jade rushes to turn the power on for the shield, but discovers that it has been deactivated due to a lack of funds. The lighthouse is left vulnerable to the meteor shower, and several DomZ creatures manage to abduct a number of the orphans. Jade is forced to fight these creatures to free the children. With Pey'j's help, she then defeats a DomZ monster that emerges from a meteor crater. The Alpha Sections arrive just after Jade defeats the monster, leaving Pey'j to grumble that they were late as usual.

Secundo finds a photography job for Jade, so she can pay to turn the power back on for the shield. The job involves cataloging all the species on Hillys for a science museum. Jade is then contacted by a "man in black" to investigate and take pictures of a creature presumed to be DomZ twins in an abandoned mine on a nearby island. The DomZ twins turns out to be the antennae of a huge DomZ monster. Once defeated, the "man in black" takes off his suit and a taxi car flies out of the limousine he was driving. The man reveals he actually works for the IRIS Network, and that the job was a test of Jade's skills.

Jade is then recruited as an agent of the network, which suspects that the Alpha Sections are behind planet-wide disappearances. Jade's first target of investigation is an Alpha Sections-run ration factory. She discovers evidence of human trafficking orchestrated by the DomZ under the Alpha Sections' authority. Along the way she rescues Double H, who was kidnapped and tortured by the DomZ. Pey'j is then abducted by the DomZ and taken to an abandoned slaughterhouse where he and the other kidnapped victims are to be transported to a base on Hillys' moon, Selene. After failing to extract Pey'j from the slaughterhouse in time, Jade learns that he was, in fact, the secret chief of the IRIS Network.

Jade learns that the Alpha Sections are being possessed and manipulated by the DomZ. Using Beluga, the ship Pey'j used to travel to Hillys, Jade and Double H go to the DomZ lunar base. There, Jade finds Pey'j dead after weeks of torture, but a strange power inside her brings back his soul, reviving him. After rescuing Pey'j, destroying Kehck's command ship, transmitting her final report, and sparking a revolution against the Alpha Sections, Jade confronts the DomZ High Priest. She learns that her human form is the latest container to hide a power stolen from the DomZ centuries ago in the hope that the High Priest, who must have spirit energy to survive, would starve to death. The High Priest managed to find a substitute energy in the souls of all those kidnapped from Hillys, and captures Pey'j and Double H to force Jade to submit to him. Using the stolen power within her, Jade is able to destroy the High Priest, though nearly losing control of her soul in the process, and then revives and rescues those that have been abducted. In a post-credits scene back on Hillys, a DomZ spore grows on Pey'j's hand as the screen fades to black.

Development
Beyond Good & Evil was developed by Michel Ancel, the creator of the Rayman video game, at Ubisoft's Pictures studio in Montpellier. The game was developed under the codename "Project BG&E", with production lasting more than three years. A group of 30 employees composed the development team. Ubisoft's chief executive officer, Yves Guillemot, fully supported the project and frequently met with the team. After years working on Rayman, Ancel wanted to move on to something different. He recalled that the goal of Beyond Good & Evil was to "pack a whole universe onto a single CD—mountains, planets, towns. The idea was to make the player feel like an explorer, with a sense of absolute freedom."

A second goal behind Beyond Good & Evil's design was to create a meaningful story amid player freedom. Ancel said that the linear nature of the gameplay was necessary to convey the story; player freedom was an experience between parts of the plot. He also strove to create a rhythm similar to a movie to engage and delight players. The game drew on many influences and inspirations, including the Miyazaki universe, politics and the media, and the aftermath of the September 11 attacks. In creating the lead character, Ancel's wife reportedly inspired the designer, who wanted to portray a persona with whom players could identify.

Beyond Good & Evil was first shown publicly at the 2002 Electronic Entertainment Expo, where it received a negative reception. Originally more "artistically ambitious" and resembling games like Ico, the game was substantially changed in order to make it more commercially appealing. Jade, originally a teenage girl, was redesigned to be more powerful and befitting of her job. The game was also shortened by removing long periods of exploration, due to Ancel's dislike of this aspect of gameplay in The Legend of Zelda: The Wind Waker. The development team was "demoralized" by the changes, with Ancel commenting that the finished game resembled a sequel more than a reworking. Prior to release, playable previews of the game were offered in movie theaters.

Audio
The soundtrack of Beyond Good & Evil was composed by Christophe Héral, who was hired by Ancel because of his background in film. Hubert Chevillard, a director with whom Ancel had worked in the past, had also worked with Héral on a television special, The Pantin Pirouette, and referred him to Ancel. Héral was assisted by Laetitia Pansanel, who orchestrated the pieces, and his brother Patrice Héral, who performed some of the sound effects and singing.

The soundtrack incorporates a wide variety of languages and instruments from around the world. Mainly Bulgarian lyrics were chosen for the song "Propaganda", which plays in the game's Akuda Bar, to allude to the Soviet propaganda of the Cold War. It uses a recording of a telephone conversation by Héral with a female Bulgarian friend to represent the government's control of the media. It also incorporates Arabic string instruments and Indian percussion. A song called "Funky Mullah" was originally planned for the Akuda Bar, but it was replaced by "Propaganda" because Héral decided that its muezzin vocals, recorded on September 8, 2001, would have been in bad taste in the wake of the September 11 attacks. "Fun and Mini-games", a song that plays during hovercraft races and other minigames, includes Spanish lyrics. The lyrics for DomZ music were created from a fictional language with prominent rolling "r" sounds. The crashing metal sound effects of "Metal Gear DomZ", the music played during a boss fight, were recorded from the son of Héral's neighbor playing with scrap metal. The voices in the city of Hillys were also recorded by Héral himself. The music has never been published as an album, though it has been released in its entirety as a free download by Ubisoft. The soundtrack is featured in the Video Games Live international concert tour.

Release
Beyond Good & Evil was first released for PlayStation 2 in North America on November 11, 2003, with versions for Microsoft Windows and Xbox following on December 2 of that same year. The GameCube version, which was initially scheduled to ship alongside the latter platforms, was delayed until December 10. The game was released in Europe for PlayStation 2 and Windows on November 14 and December 5, respectively. The GameCube and Xbox versions were released the following year on February 27, 2004.

Remasters
A full HD remastered version of the game was developed by Ubisoft Shanghai, released on Xbox Live Arcade on March 2, 2011, and on PlayStation Network in Europe on June 8, 2011, and in North America on June 28. It features improved character models and textures, as well as a modified soundtrack. Achievements, trophies and online leaderboards were also added. The HD edition was made backwards compatible on the Xbox One and available free to Gold members from August 16, 2016, through September 1, 2016, as part of the Games with Gold program. Ubisoft released Beyond Good & Evil HD for retail in Europe on September 21, 2012. The retail package includes Beyond Good & Evil HD, Outland and From Dust.

An early version of another remaster, the 20th Anniversary Edition, was accidentally released to some Ubisoft+ subscribers on Xbox platforms by Ubisoft on November 29, 2023. It was quickly removed from availability. The official release date was set for early 2024, although it did not end up releasing at that timeframe. The remaster's existence was leaked in August 2023. It was officially unveiled on June 20, 2024, and released five days later. In addition to updated graphics and remastered audio, 20th Anniversary Edition adds new features, including a speedrun mode; an anniversary gallery containing original development art, screenshots, and footage; unlockable cosmetic items for the main characters, weapons, and vehicles; and a new sidequest that connects to the story of Beyond Good & Evil 2.

Reception
Prior to its release, Official U.S. PlayStation Magazine and PlayStation Magazine praised Beyond Good & Evil at E3 2003 and described it as one of the best titles on display.

Beyond Good & Evil received "generally favorable" reviews from critics, according to review aggregator website Metacritic.

The game's graphics were generally well received. In reviewing the GameCube version, Game Informer wrote that "Every moment of Beyond Good & Evil looks as good as a traditional RPG cutscene" and that the game's effects and character animations were "amazing". On the other hand, Jon Hicks of PC Format wrote that while some effects were excellent, the game's otherwise unspectacular graphics were unwelcome reminders of the game's console roots. 1UP.com and Official U.S. PlayStation Magazine cited glitches such as frame rate as irksome, because the game did not appear to tax the console's hardware.

Edge commended the game for its storytelling and design, but criticized its plot as unable to "match Jade's initial appeal," becoming "fairly mundane" without "the darkness and moral ambiguity suggested by the title", with Jade's everyman appeal undermined by the revelation of her "mysterious hidden identity". Dan Toose of SMH called the game's setting "dark, baroque and earthy, a far cry from the squeaky-clean action of the Final Fantasy games," and described the game as "a very European take on the role-playing genre" and "one of the best adventure games in years". Star Dingo of GamePro commented that the game was a "jack of all trades, master of none" that "never really lives up to its title", adding that its vision could have been more focused. Among complaints were control issues and a lack of gameplay depth. Game Informer's Lisa Mason wrote that the game's controls were serviceable, but simplistic, and that she wished she could do more with the character. PC Gamer's Kevin Rice found most of the gameplay and its exploration refreshing, but called hovercraft races "not much fun" and felt combat was the game's weakest element. Edge called the gameplay interaction "hollowed out", as an unintended consequence of Ancel's attempt to streamline the game.

Sales
Beyond Good & Evil was not a commercial success. The game saw poor sales upon its release in the 2003 Christmas and holiday season. Retailers quickly decreased the price by up to 80 percent. Official U.S. PlayStation Magazine staff attributed the poor sales of the game—among many other 2003 releases—to an over-saturated market, and labeled Beyond Good & Evil as a commercial "disappointment". In retrospect, Ancel noted that consumers at the time were interested in established franchises and technologically impressive games. Coupled with the number of "big titles" available, he stated that the market was a poor environment for Beyond Good & Evil and that it would take time to be appreciated. The Official U.S. PlayStation Magazine staff further commented that the lack of marketing from Ubisoft and the game's odd premise naturally reserved it to obscurity. Part of the disappointing sales stemmed from Ubisoft not knowing how to market the title, something that Ubisoft North America CEO Laurent Detoc labeled as one of his worst business decisions. At the time, Ubisoft's marketing efforts were more focused on the release of Prince of Persia: The Sands of Time. Ubisoft's former North American vice-president of publishing, Jay Cohen, and its European managing director, Alaine Corre, attributed the commercial failure of the game to a lack of marketing. "The game play was there, the technical excellence was there but perhaps the target audience was not there," Corre told the BBC. Corre later commented that the Xbox 360 release (in 2011) "did extremely well", but considered this success "too late" to make a difference in the game's poor sales. The game was intended to be the first part of a trilogy, but its poor sales placed those plans on hold at the time.

Awards and legacy
Beyond Good & Evil was nominated for and won many gaming awards. The International Game Developers Association nominated the title for three honors at the 2004 Game Developers Choice Awards: "Game of the Year", "Original Game Character of the Year" (Jade) and "Excellence in Game Design". Ubisoft titles garnered six of eleven awards at the 2004 IMAGINA Festival in France, with Beyond Good & Evil winning "Best Writer" and "Game of the Year Team Award." In IGN's "The Best of 2003", the PlayStation 2 (PS2) version won "Best Adventure Game," while the GameCube version received "Best Story." Beyond Good & Evil's audio was also recognized. The game was nominated for the "Audio of the Year", "Music of the Year", "Best Interactive Score", and "Best Sound Design" awards at the second annual Game Audio Network Guild awards. During the 7th Annual Interactive Achievement Awards, the Academy of Interactive Arts & Sciences nominated the game for outstanding achievement in "Animation", "Character or Story Development", "Original Music Composition", and "Sound Design". At the 3rd Annual National Academy of Video Game Trade Reviewers Awards, the game was nominated for the following categories: "Game Design"; "Original Adventure Game"; "Control Design", winning 2 ("Game Design" and "Original Adventure Game").

In 2007, Beyond Good & Evil was named 22nd-best Xbox game and 12th-best GameCube game of all time by IGN. Game Informer listed the title 12th on its "Top 25 GameCube Games" list. In another list, "Top 200 Games of all Time", Game Informer placed the PS2, Xbox, and GameCube versions of Beyond Good & Evil as the 200th best. Official Nintendo Magazine ranked it as the 91st-best Nintendo game, while Nintendo Power ranked it 29th. Nintendo Power placed the GameCube version as the 11th-best GameCube game of all time in its 20th anniversary issue. Destructoid ranked the GameCube, PlayStation 2, and Xbox versions as the 6th-best game of the decade. In 2010, IGN listed it at #34 in their "Top 100 PlayStation 2 Games". GamesRadar placed it as the 70th best game of all time.

Sequel or prequel
Ancel stated his desire to produce a sequel to the game. Ubisoft announced at the Ubidays 2008 opening conference that there would be a second game. A sequel, tentatively titled Beyond Good and Evil 2, is currently in development, although the project was temporarily halted to focus on Rayman Origins. Michel Ancel has hinted that Jade would have a new look for the game. In early 2016, Destructoid published a rumor that the game was being funded by Nintendo as an exclusive to their upcoming console codenamed "NX" (later officially unveiled as the Nintendo Switch). On September 27, 2016, Michel Ancel posted an image to Instagram with the caption "Somewhere in system 4 ... - Thanks #ubisoft for making this possible !". On October 4, Ancel stated that Beyond Good and Evil 2 was in pre-production. Ubisoft confirmed Ancel's claim on October 6, 2016. Ubisoft showed the first new trailer for Beyond Good and Evil 2 during their E3 2017 conference and was announced as a prequel to the first game. During E3 2017, Ancel confirmed that the 2008 and 2009 trailers were from initial work as a narrative sequel to Beyond Good & Evil, but during development they opted to change direction and make it a prequel, and thus the work previously shown was from an effectively different game. There had been rumors that it would have been released as a timed exclusive for the Nintendo Switch in the prior year, but Ancel confirmed this was not the case. The "Space Monkey Program" lists the game for Microsoft Windows, PlayStation 4 and Xbox One, however Michel Ancel stated that the platforms have not been announced yet, and that the listing was due to a bug. Ancel later told Kotaku that the game is designed to run on many platforms.

When Ancel announced his departure from Ubisoft in September 2020, he stated that both the project and Wild were in capable hands. The French newspaper Libération, which have been following on Ubisoft's troubles with mid-2020 series of sexual misconduct allegations raised against many high-level members of the company, learned that members of Ancel's team found Ancel's leadership on the project to be unorganized and at times abusive, causing the game's development to have many restarts and accounting for the delay since its 2010 announcement. The Montpellier team had reported these concerns to leadership of Ubisoft as early as 2017 but Ancel's close relationship with Yves Guillemot prevented any major corrections to occur until the 2020 internal evaluations that led to Ancel's departure. Ubisoft stated that Ancel "hasn't been directly involved in BG&E2 for some time now" when he left the company. In July 2021, Ubisoft stated in a financial report that development was "progressing well" but did not answer a question about its release date. On February 9, 2022, Bloomberg News reported that the sequel "remains in pre-production after at least five years of development". In 2022, the prequel broke the record held by Duke Nukem Forever (2011) for the longest development for a video game, at more than 15 years.

Other media
In late July 2020, streaming service company Netflix announced a live-action animated film adaptation based on the video game is in development with Detective Pikachu director Rob Letterman. No further updates have been given for the film since the announcement.

Jade and Pey'j appear as characters in the 2023 Netflix animated series Captain Laserhawk: A Blood Dragon Remix, voiced by Courtney Mae-Briggs and Glenn Wrage respectively. In the series, they are depicted as captive rebels and love interests who are recruited into a team led by the eponymous character.

title: Beyond Good & Evil (video game)


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Talk:Mark Messier

Untitled
The Colorado Rockies of the late 70s were an NHL francise, a relocation of the Kansas City Scouts. Perhaps this is supposed to mean the Denver Spurs of the WHA? -- Decumanus | Talk 01:22, 4 May 2004 (UTC)

No, he was drafted by the Rockies, but he only ever played 9 games for them. The page reads correctly now. Moisanite 19:01, December 24 2006 (UTC)

Proper sentence structure is a good thing
"He has a son, Lyon, born August 16, 1987 by ex-girlfriend and former model Leslie Young, who is developing into a solid young hockey player"
 * I am laughing so hard at this....
 * The way this person constructed the sentence makes it sound like Mess' ex-wife (or g/f) whatever.... is developing into a fine young hockey player.. ouch.

In regards to Messier being the only man to captain two separate teams to Stanley cups, wasn't Neidermayer captain of Anaheim last season? —Preceding unsigned comment added by 99.243.70.104 (talk) 17:41, 25 March 2008 (UTC)
 * Yes, but he was not the Devils' captain when they won, Scott Stevens was. —Preceding unsigned comment added by 70.81.112.109 (talk) 19:24, 28 May 2008 (UTC)

Trivia
Could would we add to the article, that Mark Messier was the last former WHA player, to play in the NHL? GoodDay 23:05, 20 December 2006 (UTC)
 * It was added a long time ago. Ravenswing 03:17, 25 December 2006 (UTC)

Serious clean up
This article reads like a National Enquirer story. Can we try to remove the fluff and editorial comments and just stick to the facts? I have started, but any help would be appreciated. Thanks! --Tom 12:55, 20 April 2007 (UTC)

I can agree. 150.210.226.6 (talk) 23:56, 15 April 2008 (UTC)

This is simply awful. I can't be bothered to update this garbage myself, but it genuinely needs to be torn up and redone. RoflCopter404 (talk) 03:09, 30 December 2013 (UTC)

Nickname
Saving nicknames for later use in prose. Moose, The Captain, The Messiah, Mr. June -Djsasso (talk) 00:57, 30 July 2008 (UTC) This page needs to be updated! He's the general manager of Canada's hockey team nowadays. He replaced Yzerman as GM this should be included!!! But I don't have time so I'll let someone else do it! —Preceding unsigned comment added by 81.231.153.135 (talk) 17:55, 9 December 2009 (UTC)

External links modified
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Rank in number of most games played
Messier is now 3rd in all-time games played behind both Gordie Howe and Patrick Marleau since Marleau just broke Gordie Howe's record this past season 2600:387:6:807:0:0:0:3C (talk) 07:21, 3 July 2021 (UTC)

title: Talk:Mark Messier


text:
Wikipedia talk:WikiProject Sports facilities/Listing/General

Should we create a standard as to how to what names tolist stadiums and arenas. I was looking at this list and most seem to be leasted either under their current name or the name of the stadium when it was torn down. However Candlestick Park and Riverfront Stadium in Cincy would be exceptions to that rule.

I would proposed putting all stadiums under their current official name or the official name when it was last used (in cases where the stadium no longer stands) Smith03 01:22, 4 May 2004 (UTC)

 * I agree. Latest name (and most proper name - see Oriole Park at Camden Yards) should be used.  I struggle with thinking of an instance where we wouldn't do this.  All former names should be redirects, of course.  R ADICAL B ENDER  ★  03:16, 4 May 2004 (UTC)


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Wikipedia:Articles for deletion/Sean Ward

Nonsense it seems. fabiform | talk 01:27, 4 May 2004 (UTC)
 * I'd say patent nonsense. One more delete vote. - Lucky 6.9 02:07, 4 May 2004 (UTC)
 * I think if you'd speed-deleted this, nobody would give you a problem. Meelar 02:45, 4 May 2004 (UTC)
 * Delete. Not only nonsense, possibly libelous. Alcarillo 02:52, 4 May 2004 (UTC)
 * Delete -- Chris 73 | Talk 07:35, 4 May 2004 (UTC)
 * Delete. john 04:00, 5 May 2004 (UTC)
 * Well, it can't be libelous per se, because you can't libel the dead. That said, delete. DS 20:49, 7 May 2004 (UTC)
 * Delete. Cribcage 03:31, 8 May 2004 (UTC)


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Talk:Tractography

Untitled
The page Tractography posted in Wikipedia was partialy taken from Miami Children's Hospital Web Site. I, Byron Bernal, MD was the author of both pages and I have the intelectual property of them. I plann to extent the Wikipedia's description soon.

The Author — Preceding unsigned comment added by 68.223.236.238  (talk • contribs)  01:28, 4 May 2004

Hi - I've added illustrations, captions, references and text. I didn't realize that you thought you could copyright a Wikipedia page. So sorry but I was just trying to improve the information for users.Afiller (talk) 05:01, 23 July 2009 (UTC)

comment from cleanup
Some pasting from websites, too. See http://www.mch.com/doctors_caregivers/physicians/radiologyStudies/tractography/dti.htm for the second section. It may be by permission. Geogre 12:34, 26 Jun 2004 (UTC)

to "the author" - the intellectual property right obviously is yours only under very special circumstances. otherwise I would expect those that fund your work - the miami childrens hospital - to retain some if not all rights.

this article is called "tractography" but it only discusses one kind of tractography, I'll try to ammend the text when I get a chance. I don't think I have any images that I hold the exclusive copyright to (even though it is my data from my work) but I'll try to illustrate with public domain stuff. — Preceding unsigned comment added by 78.86.176.22 (talk) 15:33, 7 July 2011 (UTC)

History
Diffusion MRI, a method to produce images of the molecular diffusion process in tissues, was introduced in 1985, notably for its potential for neuroimaging. Aaron Filler, Franklyn Howe and colleagues published the first diffusion tensor MRI or DTI and tractographic brain images between 1991 and 1992. DTI allows to fully characterize molecular diffusion in the 3 dimensions of space.
 * one version

Diffusion MRI, a method to produce images of the molecular diffusion process in tissues, was introduced in 1985, notably for its potential for neuroimaging. An processing method of diffusion MRI, called diffusion tensor MRI or DTI allows to fully characterize molecular diffusion in the 3 dimensions of space.
 * Another version

Neither of these is independent sourced; what would be useful would be refs where none of the people claimed to have invented this are listed as authors. Jytdog (talk) 20:39, 14 October 2017 (UTC)

title: Talk:Tractography


text:
The Elder Scrolls III: Tribunal

The Elder Scrolls III: Tribunal is an expansion for the role-playing video game The Elder Scrolls III: Morrowind by Bethesda Softworks, released on November 6, 2002. The first of two expansions released for Morrowind, Tribunal is set in Mournhold, the capital of the province of Morrowind, and a self-contained city disconnected from the original game. The central quests task the player to resolve the tensions between the King of Morrowind, Hlaalu Helseth, and the Living God Almalexia. The expansion includes quality of life additions, including alterations to the game's quest journal and map.

Developed following the release of Morrowind, Tribunal was based on earlier concepts and settings in The Elder Scrolls series. The developers aimed to create a self-contained experience that explored the characters and mythology of the 'Living Gods' of the Tribunal, a key element of the narrative in the original game. Upon release, Tribunal received positive reviews, with praise for its gameplay improvements, greater difficulty, and setting, and criticism directed to the linear and short nature of the expansion and ongoing technical issues with the game. The reception of Tribunal influenced the game's second expansion, The Elder Scrolls III: Bloodmoon, released in 2003.

Gameplay

Gameplay in Tribunal is identical to Morrowind, with the game functioning as an extension of quests and open-ended locations to explore. The main addition to Tribunal is the inclusion of a city, Mournhold. Mournhold is not a contiguous part of the game world in Morrowind, and players are required to access the area through a teleportation service, with certain features such as levitation disabled to conceal the city's separation from the game world. Access to the content in Tribunal is possible after the player first goes to sleep, which will trigger the initial quest leading the player to a service that can teleport them to Mournhold.

Tribunal features several minor quality of life gameplay additions, including the modification of the game's quest journal system. In the original game, the journal records entries in linear chronological order, which can become lengthy and cumbersome as the game progresses. Tribunal introduces changes to the journal interface allowing a player to sort their journal by quest name and distinguish between active and completed quests. Other interface additions include the ability to annotate the game's map. The expansion introduces hireable followers who can travel with the player. This includes a mercenary who can use weapons and armor provided by the player, so long as they are paid a regular fee. The player can hire a pack rat who can carry items from the player's inventory. In addition, the Museum of Artifacts provides the player with an avenue to sell high-value items obtained in the original game.

Plot
The player is attacked by an assassin, later revealed to be a member of the Dark Brotherhood, an assassins' guild. To find out more about the Dark Brotherhood, the player is directed to Mournhold, the capital of Morrowind. Upon arrival, the player locates and defeats the head of the Dark Brotherhood, and complete a series of side quests for the new King Helseth and the Living God Almalexia. Almalexia has ruled Morrowind for thousands of years alongside her fellow gods Vivec and Sotha Sil, who call themselves the Tribunal, and are worshipped by the Dark Elves. During the player's visit to Mournhold, a group of mechanical creatures called Fabricants attack the Plaza Brindisi Dorom area. The creatures emerge from the statue in the middle of the plaza, revealing a secret passageway to a Dwemer ruin. Since the creatures are mechanical, it is suspected that the secretive god Sotha Sil is behind this attack. The player investigates the ruins and completes further quests in order to reconstruct Nerevar's lost sword called Trueflame. Upon acquiring the sword, the player is sent to the Clockwork City in order to kill Sotha Sil.

The player explores Clockwork City, finally arriving to find Sotha Sil dead. Upon leaving, Almalexia appears and alleges that she had killed Sotha Sil and instigated the attack in Mournhold, in order to gain more power and control over the citizens and the Tribunal. Driven mad by the Heart of Lorkhan, Almalexia perceived Sotha Sil's silence as mockery. The player is then forced to kill her before returning to Mournhold. As the player exits Almalexia's temple in Mournhold, the Daedric Prince Azura reveals that the Heart of Lorkhan drove Almalexia mad and made her hunger for more power, and that mere mortals cannot become gods without consequences. By destroying the Heart of Lorkhan and killing Almalexia, the player continues fulfilling the Nerevarine prophecies, particularly the death of the Almsivi Tribunal.

Development
The plot and setting of Tribunal was conceived during earlier development in earlier Elder Scrolls titles. Mournhold, the setting of Tribunal, featured as a location in the Arena. In 1996, following the release of Daggerfall, Bethesda Softworks began initial work on an unfinished sequel that would later become Morrowind. Also named Tribunal, the sequel was intended to be set in the entirety of the province of Morrowind. Initial development for the title contained "conflicts, characters and themes" later used in the design of the Tribunal expansion, including the use of adamantium armor, and monsters including goblins and liches. However, no staff involved in initial discussions for a sequel to Daggerfall were ultimately involved in the creation of the expansion.

Development on the Tribunal expansion started after the release of Morrowind, and completed in a five-month development cycle from June 2002,  with the expansion completed for testing in October 2002. Development of Tribunal was expedited by the inclusion of the Construction Set, providing the development team with tools to quickly add content to the game. The Tribunal development team was a smaller team of 15 to 25 consisting of the 40 Bethesda Softworks staff involved in the creation of Morrowind. Initial work on Tribunal was strained due to fatigue from the Morrowind development cycle, with creative differences between lead designer Ken Rolston and writer Douglas Goodall leading to the departure of Goodall from the studio.

The design of Tribunal was intended to create accessible content for all players irrespective of level or status, with Todd Howard describing the expansion as an "add-in rather than an add-on", noting that "any character can play [Tribunal] at any time". Tribunal's setting, Mournhold, was separated from the main game's setting, requiring players to teleport between the two locations. The developers stated this decision was intentional to minimise the risk of overlapping content with the original game and additions by the modding community. The narrative of Tribunal is strongly anchored by two of the titular god-kings of Morrowind, Amalexia and Sotha Sil, who did not appear in the original game. Designer Mark Nelson stated that initial development of Tribunal's setting involved discussion around "elements we felt weren't fully explored in Morrowind itself", with Todd Howard adding the expansion sought to "follow up on the other two members of the Tribunal, (who) get mentioned often in Morrowind, but there wasn't a real resolution to what happens to them, so that was a story we felt needed exploring." Tribunal features alterations to Morrowind's interface, including sortable quests and map notes. These additions were based on player feedback, with the developers discussing that the journal system was a major complaint from players of the original game. The development team otherwise attempted to minimise the conflicts between gameplay additions and features that had already been introduced by player-created modifications.

Release
Tribunal was announced on September 6, 2002, and released on November 6, 2002 in North America. Despite initial statements by Bethesda Softworks that Tribunal would not be released on the Xbox, the expansion, along with its successor, Bloodmoon, was packaged as Morrowind: Game of the Year Edition for PC and Xbox on October 31, 2003.

Following release, lessons from the development of Tribunal informed the development of the game's next expansion, Bloodmoon, released in June 2003. Todd Howard noted reviewers and players found that the expansion was more difficult than expected, as fewer enemies were scaled to the player's level, and the design of the expansion was insufficiently open-ended and lacked wilderness exploration. The developers of Bloodmoon attempted to rectify these issues by providing players with a more open-ended area with greater variety of creatures, dungeons, and loot, a plot that emphasised action that avoided the "political themes" of Tribunal, and greater use of levelled enemies for reduced difficulty.

Reviews
Tribunal was generally well received by reviewers. Among aggregate review sites, Metacritic scored the PC version of the game with an 80 out of 100, and GameRankings scored the game at 81 out of 100.

Reviewers praised the updates to the interface and quest journal system as necessary changes to Morrowind's mechanics. Shakil Ahmed of Hyper noted the expansion alleviated problems with the original game's "messy" and fragmented journal system. Computer Gaming World noted that the quest system was an improvement over the "unbearably messy" original, but retained issues accessibility due to organising the game's quests by title. Reviewers generally welcomed the more difficult gameplay in Tribunal. Computer Gaming World stated that the new monsters in the game were "challenging opponents" and was engaging for high-level characters. Some reviewers found the expansion slightly too difficult, with William Abner of GameSpy stating it was "no cakewalk even with some of the more powerful items of the original game".

Critics commended the design of the main quest, but disagreed on the merits of the expansion's setting of Mournhold. Keith Pullin of PC Zone critiqued the expansion as "relatively linear", finding it to lack the sense of scale of the original game. Computer Gaming World similarly viewed the design of Mournhold to be "underpopulated" and "confined". However, other reviewers praised the more focused structure and narrative. Matthew Peckham of Computer Games described the setting of Mournhold as "massive" and comparable to the game's larger cities, highlighting the "deceptively simple detours" and "knotty counter-plots" of its narrative. Steve Polak of PC Powerplay viewed the expansion to be "easier to follow with a better sense of direction" and an alternative to the "open ended and unstructured" design of the original game. Steve Butts of IGN similarly found the main quest to be more focused and better-paced, stating that "unlike Morrowind, you'll rarely lose sight of what you're doing or why".

Some reviewers encountered technical problems with the expansion, including Steve Butts of IGN, who encountered crashes, and William Abner of GameSpy, who discussed the expansion's "bizarre sound problems". The poor pathfinding of the travelling companion and pack rat were also noted by several reviewers. William Abner of GameSpy described the followers as a "pain" to travel with, noting annoyance due to "pathing problems" and "clipping issues". Steve Polak of PC Powerplay also expressed annoyance with NPC pathfinding and follower behavior.

title: The Elder Scrolls III: Tribunal


text:
Richard Anthony Salisbury

Richard Anthony Salisbury (born Richard Anthony Markham; 2 May 1761 – 23 March 1829) was a British botanist. While he carried out valuable work in horticultural and botanical sciences, several bitter disputes caused him to be ostracised by his contemporaries.

Life
Richard Anthony Markham was born in Leeds, England, as the only son of Richard Markham, a cloth merchant and Elizabeth Laycock. His family included two sisters, including his older sister Mary (b. 1755). One of his sisters became a nun. His mother, was the great grand-daughter of Jonathan Laycock of Shaw Hill. Laycock in turn married Mary Lyte (b. 1537), brother of Henry Lyte, the botanist and translator of the herbal of Dodoens. Of this, he wrote "so I inherit a taste for botany from very ancient blood". He studied at a school near Halifax and by the age of eight had established a passion for plants.

He attended medical school at the University of Edinburgh in 1780, where he would have at least been aware of the influence of John Hope, then Professor of Medicine and Botany. At Edinburgh he became friendly with James Edward Smith, another student, who would found and become president of the Linnean Society. Smith gathered a circle of friends together to form the Society for the Investigation of Natural History in March 1782. Smith described Markham as 'a young man of large fortune from Leeds, who studies physic as an amusement, and is an excellent botanist; but has just left Edinburgh and 'tis uncertain whether he will return'. It is unclear whether he completed his studies and graduated, not uncommon at that time among those with a substantial inheritance.

About this time, Richard Markham changed his name to Richard Salisbury. Later, Markham wrote to Joseph Banks that in 1785, Anna Salisbury, an elderly spinster without heirs who was a distant relative of his mother and who shared his love of plants, had settled on him a substantial amount of money. The condition was that he adopt her name, which she stated was an ancient and illustrious Welsh family. He was never able to produce any documentation to this effect and later it was claimed that he had admitted to having invented the story.

Following his studies, Markham, now Salisbury pursued the life of country gentleman of wealth at Chapel Allerton, Leeds, one of his father's estates. He developed substantial gardens and a large hothouse and a circle of wealthy local landowners who were equally enthusiastic about horticulture. For instance, he received an invitation to redesign the grounds of Harewood House. At the same time he developed a corresponding relationship with many leading botanists, and visited herbaria in Paris and London. There, he visited Banks, who remained his loyal friend for the rest of his life. He received recognition through election to the Royal Society and the Linnean Society in 1787.

Salisbury married Caroline Staniforth in 1796. One child, Eleanor, was born to the couple in 1797; the two separated shortly thereafter. Salisbury had apparently misrepresented his finances when he had proposed marriage, and had large debts at the time of his daughter's birth and had declared bankruptcy for dubious purposes. His honesty in legal and financial matters seems to have been questionable, if not devious. He apparently recovered financially by 1802, when he bought a house.

Salisbury contributed annotations to Edward Rudge's Plantarum Guianæ Icones (1805–07), and descriptions to Paradisus Londinensis (1806–09). The latter was illustrated by William Hooker, and contained the genus name Hookera honouring him. Smith improperly renamed the genus Brodiaea a few years later, after his wealthy "friend and patron", James Brodie of Brodie.

In 1809, Salisbury was appointed the first honorary secretary of the Horticultural Society. His successor Joseph Sabine found he had left the accounts in disarray. He moved to London around this time; his small garden contained a large number of exotic and rare plants.

Salisbury opposed the use of Linnaeus's systema sexuale for classifying plants, which was one reason why others ignored his work. Another was the belief that Salisbury had behaved unethically. The censure was later reported as:

"'there was a tacit understanding on the part of the botanical leaders of the period, including Brown, Banks, and Smith, that Salisbury's botanical work and names should, as far as possible, be ignored'—Journal of Botany, 1886, p. 297.'"

In July 1818, an anonymous article appeared in The Monthly Review (86: 298–305) that was highly critical of Brown's account of plants acquired on a Congo expedition. Brown and others had little difficulty discerning that the author was Salisbury, prompting the former to complain to Smith the following month. However, there was already considerable ill feeling between the two botanists, due to Salisbury's use of Brown's work, but also his falling out with Smith, from the early days of the century. Smith referred to Salisbury's contributions as "trash" in 1807.

In addition to the allegations of plagiarism, Salisbury was known as a man who was difficult to get along with, was frequently involved in disputes with his contemporaries and was shunned by many botanists of his day. Nonetheless, he was a meticulous botanist and illustrator who contributed significantly to both the science and to horticulture. His contributions to English botany include a Corsican pine (Pinus nigra) delivered to Kew Gardens, and his herbarium was also passed there via his adopted son, Matthew Burchill. Salisbury had met Alphonse de Candolle in his later years, and offered to leave him his inheritance if he would take the name of 'Salisbury'.

He died in 1829. His manuscripts were obtained by John Edward Gray, who published part as Genera Plantarum and deposited the remaining documents at the British Museum. The portrait in pencil by Burchell (1817), acquired by Kew, and Smith's genus Salisburia, a synonym for Ginkgo, denote his part in the history of British botany. At that time (1797), he was still on good terms with Smith, who wrote "named in honour of Richard Anthony Salisbury, Esq., F.R.S. and F.L.S. of whose acuteness and indefatigable zeal in the service of botany no testimony is necessary in this society, nor in any place which his writings have reached".

Work
Salisbury's first known publication was his Icones stirpium rariorum descriptionibus illustratae (1791), a collection of 11 hand coloured plates, including the first description of Canna flaccida, which therefore bears his name as the botanical authority Salisb. .This was followed in 1796 with an account of the plants on his Chapel Allerton estate.

Salisbury was unpopular with his contemporaries for his rejection, (subsequently demonstrated to be correct (of the Linnaen system of plant classification, the systema sexuale) still supported by Smith among others. Salisbury promoted the natural system instead. In 1796, at his own expense, Salisbury published a comprehensive account of the plants at Chapel Allerton He published a manuscript in 1809 under the name of a friend, Joseph Knight, entitled On the cultivation of the plants belonging to the natural order of Proteeae, which contained only 13 pages related to cultivation techniques, but over 100 pages of taxonomic revision.  However, it turned out that the work had nonetheless freely plagiarised the work of yet another botanist (Brown) who was at odds with Salisbury. Salisbury had memorised the plant names from Robert Brown's reading of his On the Proteaceae of Jussieu to the Linnean Society of London in the first quarter of 1809, which was subsequently published in March 1810. Knight and Salisbury thus beat Brown to print and claimed priority for the names that Brown had authored.

Salisbury was accused of plagiarism, ostracised from botanical circles, and his publications were largely ignored during his lifetime. Samuel Goodenough wrote:

"How shocked was I to see Salisbury's surreptitious anticipation of Brown's paper on New Holland plants, under the name and disguise of Mr. Hibbert's gardener! Oh it is too bad!"

Robert Brown himself wrote of Salisbury:

"I scarcely know what to think of him except that he stands between a rogue and a fool."

Although Salisbury's generic names have almost all been overturned, many of his specific epithets have been reinstated; since the nominal author was Knight, not Salisbury, Knight is now considered the author of a great many Proteaceae species.

List of selected published works

 * Books
 * Dissertatio botanica de Erica, 1800
 * Text of The Paradisus Londinensis, 1805–1808
 * Dissertatio botanica de Erica, 1800
 * Text of The Paradisus Londinensis, 1805–1808

 * Transactions of the Horticultural Society of London 1820 (contributions 1806–1811)
 * In
 * In
 * In
 * In
 * In
 * In
 * In
 * In

Books

 * , in
 * , in
 * , in

title: Richard Anthony Salisbury


text:
User:Clarknova

Hello. Welcome to my User:Page.

I've been editing Wikipedia since 2004 and have well over one thousand contribs to my user name.

I prefer articles about literature, history, philosophy, western esoterics, technology and the physical sciences.

My favorite contributions
 Created

 Substantially edited

title: User:Clarknova


text:
Memorial Stadium

Memorial Stadium may refer to:

United States

 * Memorial Stadium (Bakersfield), Bakersfield, California
 * California Memorial Stadium, University of California, Berkeley, California
 * Memorial Stadium (Storrs), University of Connecticut, Storrs, Connecticut
 * Historic Sanford Memorial Stadium, Sanford, Florida
 * A. J. McClung Memorial Stadium, Columbus, Georgia
 * Memorial Stadium (Savannah), Savannah, Georgia
 * Memorial Stadium (Waycross), Georgia
 * Memorial Stadium (Boise), Boise, Idaho
 * Memorial Stadium (Champaign), University of Illinois, Champaign, Illinois
 * Memorial Stadium (Indiana University old), Indiana University (1925–1959), now known as Tenth Street Stadium
 * Memorial Stadium (Indiana University), Bloomington, Indiana
 * Memorial Stadium (Fort Wayne), Fort Wayne, Indiana
 * Memorial Stadium (Terre Haute), Indiana State University, Terre Haute, Indiana
 * David Booth Kansas Memorial Stadium (University of Kansas), Lawrence, Kansas
 * Memorial Stadium (Kansas State), Manhattan, Kansas
 * Memorial Stadium (Maine), Portland, Maine
 * Baltimore Memorial Stadium, Baltimore, Maryland
 * Memorial Stadium (University of Minnesota), Minneapolis, Minnesota (1924–1981)
 * Mississippi Veterans Memorial Stadium, Jackson, Mississippi
 * Memorial Stadium (Columbia), University of Missouri, Columbia, Missouri
 * Memorial Stadium (Lincoln), University of Nebraska, Nebraska
 * Memorial Stadium (Wayne State), Wayne State College, Wayne, Nebraska
 * Memorial Stadium (Dartmouth), Dartmouth College, Hanover, New Hampshire
 * Memorial Stadium (Asheville), North Carolina
 * American Legion Memorial Stadium, Charlotte, North Carolina
 * Memorial Stadium (University of North Dakota), Grand Forks, North Dakota
 * Memorial Stadium (Kent State), Kent State University, Kent, Ohio
 * Dix Stadium, Kent State University, known as Memorial Stadium from 1969 to 1971, Kent, Ohio
 * Gaylord Family Oklahoma Memorial Stadium, University of Oklahoma, Norman, Oklahoma
 * Christy Mathewson–Memorial Stadium, Bucknell University, Lewisburg, Pennsylvania
 * Memorial Stadium (Clemson), Clemson University, Clemson, South Carolina
 * Simmons Bank Liberty Stadium, Memphis, Tennessee, formerly known as Memphis Memorial Stadium and Liberty Bowl Memorial Stadium
 * Memorial Stadium (Johnson City, Tennessee), listed on the National Register of Historic Places (NRHP) in Washington County, Tennessee
 * Memorial Stadium (Alice, Texas), Alice, Texas
 * Memorial Stadium (Arlington, Texas), University of Texas at Arlington
 * Darrell K Royal–Texas Memorial Stadium, University of Texas at Austin
 * Memorial Stadium (Texas A&M–Commerce), Commerce, Texas
 * Memorial Stadium (Mesquite, Texas), Mesquite, Texas
 * Pasadena Memorial Stadium, also known as Veterans Memorial Stadium, Pasadena, Texas
 * Memorial Stadium (Tarleton State), Stephenville, Texas
 * Memorial Stadium (Wichita Falls), Wichita Falls, Texas
 * Memorial Stadium (Seattle), Seattle, Washington
 * Memorial Stadium (Spokane), original name of Joe Albi Stadium in Spokane, Washington

Elsewhere

 * Memorial Stadium (St. John's), St. John's, Newfoundland and Labrador, former home of the St. John's Maple Leafs
 * Memorial Stadium (Bristol), Bristol Rovers F.C., Bristol form home of Bristol Rugby Club in England

title: Memorial Stadium


text:
Jam (TV series)

Jam is a British experimental black comedy sketch show, created, co-written, produced and directed by Chris Morris. It was broadcast on Channel 4 between 23 March and 27 April 2000. It was based on the earlier BBC Radio 1 show, Blue Jam, and consists of an unconnected series of disturbing and surreal sketches, unfolding over an ambient soundtrack. Many of the sketches re-used the original radio soundtracks with the actors lip-synching their lines, an unusual technique which added to the programme's unsettling atmosphere, and featured unorthodox use of visual effects and sound manipulation.

The sketches themselves would often begin with a simple premise, e.g. two parents showing indifference to the whereabouts of their young child, and then escalate it with ever-more disturbing developments (the parents being phoned to come and identify the child's corpse, but asking if it can instead be taxied to their home, as they don't want to interrupt their evening). The cast, composed of actors Morris had worked with in his early satirical shows, such as The Day Today and Brass Eye, included Amelia Bullmore, David Cann, Julia Davis, Kevin Eldon, and Mark Heap, as well as occasional appearances from Morris himself.

Morris introduced each episode in the style of a surreal compère, reading free form poetry over a nightmarish montage, often depicting someone as their life spirals out of control (for instance, one montage sees an unkempt man drinking from a bottle in a bag as he walks down the street, before being kidnapped by "dung-breathed men" and forced to wrestle pigs in the Fens).

Jam was co-written by Peter Baynham, with additional material contributed by Jane Bussmann, David Quantick, Graham Linehan, Arthur Mathews and the cast themselves. The show perplexed audiences and critics on its initial broadcast. Some hailed it as breakthrough, daringly original television, while others dismissed it as merely sickening and juvenile.

Structure
Jam is a black comedy.

The show had no opening or closing titles, the latter replaced with its now-defunct web address, www.jamcredits.com. Instead, it would begin with a disturbing monologue by Morris, coupled with a corresponding montage. These would, to some degree or other, follow a character as their nightmares are made real, or their preconceptions are shattered, leaving them in a bleak reality (i.e. a woman walking her dog, only to discover it's just skeletal remains). Morris would then say: "Then welcome", followed by a nonsensical sentence (e.g. "Ooh, astonishing sod ape"), before finally announcing: "Welcome... in Jam". The word "jam" would rarely be said normally; it would either be heavily distorted, spoken in a strange accent, or just screamed repeatedly at the viewer.

The series consisted of six twenty-minute episodes, and, unusually for a TV show on a commercial channel, had no advert break in the middle, which was the first time an entertainment show had run without ads on Channel 4. Morris has said that he asked Channel 4 to broadcast it without a break so as to not spoil the atmosphere. Sketches often had a documentary feel to them, the characters acting as if they were being interviewed about recent events.

The series had a late-night remix version during the 4Later slot, entitled Jaaaaam. Its audiovisual distortions of the original series introduced the musical remix concept to British television. Morris further aped music culture through the creation of a fluid sound mix, with music, speech and other sound effects, drawing on the work of ambient DJs.

Reception
Jam received a mixed reaction from critics, with views ranging from "the most radical and original television programme broadcast in years" to accusations of it being "adolescent", "sick", and "self-indulgent". The show received a number of complaints and was criticised by the Broadcasting Standards Commission. It is not generally as recognised as Morris's earlier, satirical TV work, and remains a cult show.

Three complaints about Jam were upheld. These concerned the sketches "Coffin Mistake", "Sex for Houses", and "Plumber Baby", as they were deemed insensitive to the bereaved and those with learning difficulties. The sketches in question dealt, respectively, with a man delivering a small homemade coffin to a couple whose child was stillborn, a couple prostituting the husband's mentally disabled sister as part of a property deal, and a bereaved mother who bribes a plumber to "fix" her dead baby in the way he would a boiler.

Five of the show's six episodes were classified "18" by the BBFC for very strong language and sexual content (particularly the "Gush" sketch, which depicts a prosthetic erection and fake semen, in a story about a pornographic film where the male actors die due to excessive ejaculation). Despite its content, the broadcast attracted nowhere near the controversy that the following year's Brass Eye special, "Paedogeddon", about media panic surrounding paedophilia, did.

In a 2008 interview, contributor Graham Linehan admitted he felt out of place during writing, and had mixed feelings about Jam: "Jam wouldn't be my favourite thing of Chris's, and it was the one where I didn't really feel like we were contributing a lot. Its mood was so grim that I just found it difficult to join in. I think that Chris was just interested in tying people in moral knots—giving them a moral problem and then just twisting it so they have to do something awful to get out of the first moral problem. Although this is a secondary impulse for him, he's also interested in pushing buttons that haven't been pushed in comedy in people; making them laugh in a way that they're not used to. [...] Personally, I just want to make people laugh."

The show was featured on Channel 4's 100 Greatest Scary Moments.

Adam Buxton and Joe Cornish parodied Jam in Channel 4's The Adam and Joe Show. Entitled "Goitre", the sketch saw the two make a very amateurish attempt at creating unsettling sketches. One such sketch involved a repair man who found a "dead baby" (actually a doll) behind a TV and insisted he would have to "bugger" it in order to fix the television. The sketch later appeared as an extra feature on the Jam DVD.

Home video
Jam was released to DVD in April, 2003, and has numerous pointless extras. For instance, each episode has both a "normal version" and a "special version". Other "versions" include a miniaturised version, a miniaturised moving version, a lava lamp version, a fast-forwarded version, the first 19 seconds of the episode only, and a fast-forwarded version expanded to the original running time. This last is the only one reasonably capable of being watched without extreme difficulty. In addition, the items listed under the "Extras" on the disc are, much of the time, little more than additional copies of sketches, with the occasional deleted scene or shot of an audition or rehearsal. The only exceptions are Adam and Joe's "Goitre" parody of Jam, and a link to "Undeleted Scenes", which, when selected, advises the viewer to take the DVD back to the shop they bought it from and complain "loudly and obnoxiously" about the lack of undeleted scenes.

When attempting to change the audio settings to surround sound, the DVD provides the viewer a link to an MP3 file (no longer hosted) on the show's official site and advises that it should be played from behind the viewer while watching the show; the file was a mono recording of wind, thumps and distant artillery.

Easter eggs

 * Selecting "Play All At Once" from the "Play All" menu reveals a large red dot; by pressing the select button on your DVD remote when this is shown, you can see an audition for a deleted scene.
 * At the end of episode three, just before the Talkback Productions credit is shown, a dog's face is flashed up on screen for a few seconds, with a red dot. When the dot appears, pressing select will show the trailer for Morris's 2003 short film, My Wrongs 8245–8249 & 117. The film is an adaptation of a story from Blue Jam, about a dog that takes over the life of its minder. Numerous brief images depicting scenes similar to those in My Wrongs appear throughout Jam, suggesting that there had been a previous, aborted attempt to film this story as a sketch.
 * Selecting "Play All Once" will, obviously, show the episodes in order, but at the end of episode two, just before episode three, a backstage look at the filming of the "Gush" porn film is shown. It is regarded as an outtake due to the laughter at the end.
 * At the end of "London/Tokyo Jam Exhibition", a rehearsal for a deleted scene starring Kevin Eldon is shown. The scene is similar to the "45-year-old little girl" sketch in episode six. It is an adaptation of the "Optician" sketch from episode two of Blue Jam.

title: Jam (TV series)


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Guy André

Guy André (born November 17, 1959) is a Canadian politician who was elected to the House of Commons from the riding of Berthier—Maskinongé from 2004 to 2011. He is a member of the Bloc Québécois.

A social worker who lives in Pointe-du-Lac, a former city which is now a borough of Trois-Rivières, André was first elected to Parliament in the 2004 federal election. He was reelected without serious difficulty until he was defeated by NDP challenger Ruth Ellen Brosseau in the unexpected "orange wave" that swept through Quebec in the 2011 federal election. André had never received less than 45 percent of the vote but was held to only 29.4 percent in 2011.

He was considered a member of the "pur et dur" (hardline) faction of the Quebec sovereignty movement.

title: Guy André