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Country Harbour, Nova Scotia

Country Harbour (formerly named Mocodome) is a rural community in Guysborough County, Nova Scotia, Canada. The community is situated on a large deep natural harbour of the same name and is located along the province's Eastern Shore close to Canso, Nova Scotia.

Country Harbour has several districts along Route 316:

 * Country Harbour Lake
 * Cross Roads Country Harbour
 * Middle Country Harbour
 * Country Harbour Mines

The entire population of the area is less than 1,000 permanent residents.

History
Country Harbour was reportedly considered by British colonial authorities for the provincial capital and military base that was ultimately sited at Halifax. There are several sites dedicated to preserving the heritage of the early European settlers, including a restoration of a small village (probably home to less than 20 families) and Mount Misery.

Mount Misery was an early agricultural community which was renowned for its harsh winter conditions, resulting in the death of almost all original settlers within their first year of emigration. Mount Misery is connected to Country Harbour Mines via a cable ferry operated by the provincial Department of Transportation and Public Works, providing convenient access to the neighbouring community of Port Bickerton.

Attack at Country Harbour
During Father Le Loutre's War, on February 21, 1753, nine Mi'kmaq from present-day Antigonish (Nartigouneche) in canoes attacked an English vessel from Canso, Nova Scotia which had a crew of four at Country Harbour, Nova Scotia. The Mi'kmaq fired on them and drove them toward the shore. Other natives joined in and boarded the schooner, forcing them to run their vessel into an inlet. The two English men witnessed the Mi'kmaq kill and scalp two of their crew. The Mi'kmaq killed two English men and took two others captive for seven weeks. After seven weeks in captivity, on April 8, the two English men killed six Mi'kmaq and managed to escape.

In response, on the night of April 21, Jean-Baptiste Cope and the Mi'kmaq attacked another 10 crew English schooner in a naval battle between Outique Island and Isle Madame in which the Mi'kmaq attacked an English schooner. There were nine English men and one Acadian who was the British interpreter. The Mi'kmaq killed the English and let the Acadian named Anthony Casteel off at Port Toulouse, where the Mi'kmaq sank the schooner after looting it. Despite the collapse of peace on the eastern shore, the British did not formally renounce the Treaty of 1752 until 1756.

Economy
Traditional industries have included mining, forestry and fishing. Many residents have established their fishing businesses in Port Bickerton due to the geographic advantages provided by that port, however several deep-sea fishing vessels use Country Harbour for transferring their cargo to land-based transport.

Country Harbour once had an extensive gold mining industry. However, the last serious attempt at mining this resource took place in the early 1980s with the opening of the Forest Hills Gold Mine. Nothing of significant value was recovered from this operation, and it closed after several years.

In neighbouring Goldboro, the Sable Offshore Energy Project pipeline comes ashore from natural gas fields 200 km offshore at Sable Island. There, a gas liquids separation plant operates which sends gas liquids on a pipeline to a plant at Point Tupper and the Maritimes and Northeast Pipeline carries the pure natural gas westward to markets in the Maritimes and New England.

Country Harbour has few significant employment opportunities aside from the traditional primary resource industries. Many residents tend to commute to Antigonish or even as far as New Glasgow, Port Hawkesbury and Halifax for employment, however the majority of the community is retirees.

The area is within the district of Guysborough but is served by St. Mary's Education Centre and St. Mary's Academy in nearby Sherbrooke.

Notable residence

 * Maria Morris Miller - painter

title: Country Harbour, Nova Scotia


text:
Talk:Ethics of technology

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Intro
The opening description is quite awkward, particularly the second sentence which is "Some prominent works of philosopher Hans Jonas are devoted to ethics of technology. The subject has also been explored, following the work of Mario Bunge, under the term technoethics." It is strange to use these two particular philosophers. Although important, they are far from being the central figures within this field and thus the introduction to this topic warrants greater depth and representation in the field. EthicsScholar93 (talk) 06:16, 26 September 2020 (UTC)

From VfD
Non-encyclopedic? POV? Stub? Too many questions, too few answers. [[User:Mike Storm|Mike ∞ Storm]] 20:47, 5 Aug 2004 (UTC)
 * Delete.--Samuel J. Howard 21:25, Aug 5, 2004 (UTC)
 * Keep. Good lemma but very unclear article, I replaced it with a minimal stub. BTW this is a standard course on a number of universities, so can perhaps just some students fill in the details? -- Pjacobi 22:11, 5 Aug 2004 (UTC)

 * Delete in this form: This is more an article for (not about) Hans Jonas. I will attempt to do some rewrite, but I feel like the lemma ought to be a gateway to other ethics categories, as the general subject is too vast to cover in one article. Geogre 00:18, 6 Aug 2004 (UTC)
 * Abstain: I've done enough rewriting now that it would be insane to vote against what is 80% mine and 15% Pjacobi's. I don't have a lot of confidence in what I've written (all the bulky stuff after the 1st par.).  If people vote to keep, I'm curious as to whether they think the push for Hans Jonas should stay. Geogre 13:04, 6 Aug 2004 (UTC)
 * To clarify: I know nothing about the topic, but did only routine Googling on the lemma. I found that's a standard course and the reference to Hans Jonas. Then I replaced the incongruent first author's version with the references to Jonas' books. Pjacobi 13:31, 6 Aug 2004 (UTC)
 * Keep. This is developing into an awesome article. Lots of room for development, but a great start and an excellent example of what Wikipedia can do. Andrewa 02:10, 7 Aug 2004 (UTC)
 * Needs rewrite and expansion. Article should reflect the relative importance of work done in the field Stirling Newberry 06:48, 7 Aug 2004 (UTC)

 * Who says that "Technology itself is incapable of possessing moral or ethical qualities, since "technology" is merely tool making. Thus, "ethics of technology" refers instead to two basic subdivisions."? This part seems to need a reference. Moreover, this understanding of technology as neutral it is not at all in line with later writings within fields such as philosophy of technology and STS-studies. S. Comments? (129.240.146.61 (talk) 10:47, 16 March 2010 (UTC))

Technoethics

 * After looking at both articles (and yes, both could use a cleanup) and doing some background reading, these 2 domains, despite overlap, are quite distinct. Technoethics aligns with the Engineers, Computer Scientists, technologists, and social science folk. Much of the work is empirical and oriented towards practical problem solving and knowledge building.  Ethics of Technology derives from Philosophy and makes connections with Ethics, Applied Ethics and Philosophy of Technlogy, which provides some theoretical framing for some research in technoethics but lacks the empirical research orientation that defines Technoethics.  Since Bunge's work precedes Jonas's, I would have folded Ethics of Technology into Technoethics instead if I was forced to.  However, I do think there are more reasons to keep them apart.  99.241.68.132 (talk) 19:45, 5 March 2013 (UTC)
 * Merge. Not much traction on this item. I recognize the difference between the two topics, but I'm still inclined to vote in favor. I agree with the previous comment about folding EoT into TE, rather than vv. if there are no objections, I'll add the merge job to my to-do list. jxm (talk) 16:06, 12 August 2014 (UTC)
 * Was there any outcome on this? I'd like to edit one or the other article, but not both. - WilmingMa (talk) 19:57, 20 February 2015 (UTC)
 * It's still languishing on my to-do list. If you could do the merge, that would be great. WP:BOLD! jxm (talk) 16:32, 23 February 2015 (UTC)
 * This has been waitng for 4 years now, so I'm acting, even as a non-expert. It could still do with an expert polish. Klbrain (talk) 23:25, 28 May 2016 (UTC)
 * I added a new section to the subsection that regards current issues that covers the handling of private user data. I know it could definitely use some polish as well, so if anyone would wish to edit it and make it more wordy and add more instances of user data, that would be great. I was having trouble with finding unbiased opinions. Cole bodine (talk) 20:50, 24 February 2019 (UTC)cole_bodine
 * Disregard my last comment. I took the section out, went back over it in my sandbox (luckily, nobody had edited it at all, so I felt it possible to do that) and now have put a subtopic called "User Data" in the article. Along with it, I put an article on Drones, though the ethics of drones in civilian hands could be elaborated on I'm sure.Cole bodine (talk) 23:12, 17 April 2019 (UTC)

Spelling
In "Historical framing of technology – four main periods", point 2, appears the word "Tecknik" in quotes, in the next sentence it is spelled as "Technik". The latter is the correct contemporary spelling in German (my mother tongue). I did a quick google for "Tecknik" and could not find relevant hits, but I am not sure whether the spelling has changed since the 19th century. If anyone has a reference to the spelling in the article, it would be nice to cite it. Otherwise it might be an unfortunate misspelling within quotation marks, which suggest that the misspelled version is odd, but actually correct. — Preceding unsigned comment added by 82.132.235.161 (talk) 17:15, 12 September 2016 (UTC)

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NPOV
Technoethics and the evolving knowledge society By Luppicini seems over-cited and sort of disagreeable. The subtopics Technological consciousness and Misunderstandings of consciousness and technology seem very opinionated and non-universal views of a single philosopher, and shouldn't be presented as objective truths in a dictionary. For example, instead of "in fact, consciousness is not only in the head", the article should say "according to R. Luppicini, consciousness is not only in the head". I'll start making small edits later today, but I'd also like feedback on whether we need alternative sources for this and what directions those parts of the article should be developed towards. BlueBanana (talk) 13:18, 9 March 2019 (UTC)

assignment6 : Technology and Ethics During the Coronavirus Pandemic
The world has greatly changed since March 2020. As the world adapts to a new normal, technology has been emerging to help combat this pandemic. I thought adding the ethics behind using technology, especially contact tracing apps, to slow the spread of coronavirus would be a great addition section to this article. I have done some research on my own, I would appreciate if other Wiki contributors provided more information, guidance, or edits to this.

As the world has dealt with the emergence of the coronavirus pandemic, we have turned to technology to help slow down the spread and track the infected or exposed. Many countries have utilized CCTV cameras, drones, credit card information, and location data from cell phones and contract tracing apps. In theory, this is a valuable way to track infected and exposed people with coronavirus but is it an infringement on your privacy? Will the tracking end when you are not infected or exposed? Will you be aware that you are being tracked? How can you feel safe that the government is not tracking you anymore?

As of April 20th, 2020 there has been over 43 contract tracing apps available globally. Countries are in the process of creating their own methods of digitally tracing coronavirus status (symptoms, confirmed infected, exposed). Apple and Google are working together on a shared solution that helps with contract tracing around the world. Since this is a global pandemic with no end in sight, the restriction of some fundamental rights and freedoms may be ethically justifiable. It may be unethical to not use these tracing solutions to slow the spread. The European Convention on Human Rights, the United Nations International Covenant on Civil and Political Rights, and the United Nations Siracusa Principles all indicate when it is ethical to restrict the rights of the population to prevent the spread of infectious disease. All three documents cite that the circumstances for restricting rights must be time-bound, meet standards of necessity, proportionality, and scientific validity. We must evaluate if the gravity of the situation justifies the potential negative impact, if the evidence shows that the technology will work, is timely, will be adopted by enough people and yields accurate data and insights, and evaluate if the technology will only be temporary. These three documents also provide guidelines on how to ethically develop and design technologies. The development and design guidelines are important for being effective and for security reasons. Even though these three bodies of government can deem contact tracing ethical, all these contact tracing apps come with a price. They are collecting sensitive personal data including health data. This poses a threat to violate HIPPA and PII if not handled and processed correctly. Even if these apps are only used temporarily, they are storing permanent records of health, movements, and social interactions. Not only do we have to consider the ethical implications of your personal information being stored, but we must also look at the accessibility and digital literacy of the users. Not everyone has access to a smartphone or a cell phone. If we are developing smartphone applications, we will be missing a huge portion of coronavirus data.

While it may be necessary to utilize technology to slow the spread of coronavirus, the Government needs to design and deploy the technology in a way that does not breach the public trust. There is a fine line of saving lives and possibly harming the fundamental rights and freedoms of individuals.

Timothy Reilly (talk) 23:50, 23 September 2020 (UTC)Timothy Reilly

 * this is a good idea, Ill try to edit and add citation where necessary EthicsScholar93 (talk) 06:15, 26 September 2020 (UTC)

Is this article in good shape now?
This article has been the subject of multiple student projects from the Wiki Education Foundation and now seems pretty well developed. Is it time to remove the August 2009 "more footnotes" macro? Simsong (talk) 11:43, 20 February 2022 (UTC)

A little too OR + essay
Trimmed from lead for not having an encyclopedic tone, with the most troublesome words in bold:

Ethics of technology is now an important subject as technologies give people more power to act that before. The development of Artificial Intelligence and rise of social media brings up the questions of how to behave on these platforms and how far is A.I allowed to go. Recent issues such as Facebook data leaks and circulation of fake news highlights the downside of social media when in the wrong hands. As technology continues to develop and have the power to alter people's daily lives, questions surrounding what is ethical or not will remain.

"Questions will remain" is dripping with worry beads. — MaxEnt 04:56, 1 April 2022 (UTC)

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

title: Talk:Ethics of technology


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Warcraft Adventures: Lord of the Clans

Warcraft Adventures: Lord of the Clans is a cancelled graphic adventure game developed by Blizzard Entertainment and Animation Magic from 1996 until 1998. Set in the Warcraft universe after the events of Warcraft II: Beyond the Dark Portal, it followed the orc character Thrall in his quest to reunite his race, then living on reservations and in slavery following its defeat by the human Alliance. Assuming the role of Thrall, the player would have used a point-and-click interface to explore the world, solve puzzles and interact with characters from the wider Warcraft series.

Warcraft Adventures was conceived in late 1996, when Blizzard's sister company Capitol Multimedia suggested that the Warcraft license might be suited to an adventure game. As a result, the Blizzard team chose to co-develop the project with Animation Magic, a subdivision of Capitol responsible for the CD-i games from The Legend of Zelda series. While the game design and direction occurred at Blizzard's Irvine, California headquarters, Animation Magic handled the programming and art respectively in Boston and Saint Petersburg, and the studio Toon-Us-In helped to create the cutscenes in South Korea. The team opted for a conservative design approach on Warcraft Adventures, influenced by LucasArts adventure games such as The Dig and Full Throttle.

Blizzard struggled to adapt to the adventure genre during development, and the slowness of the international production pipeline became a major problem for the team. Unhappy with the game's progress, Blizzard delayed Warcraft Adventures past its original release date of late 1997 and hired game designer Steve Meretzky to revise the project in February 1998. This resulted in a plan to edit and improve the game with minimal changes to its art: Warcraft Adventures was already near completion, and deadline and budget restrictions prevented a major redesign. Meretzky's plan went largely unused, as an internal review at Blizzard determined that its implementation would lead to excessive delays. Instead, the developer chose to cancel the project in May 1998, after roughly 18 months of work.

Warcraft Adventures received significant pre-release attention from the gaming public and press, and the decision to cancel it was met with fan backlash and critical disappointment. Despite the game's cancellation, its story was adapted into the novel Warcraft: Lord of the Clans (2001) by Christie Golden, and was the basis for Blizzard's real-time strategy game Warcraft III: Reign of Chaos. Elements of the game later influenced World of Warcraft and the 2016 film Warcraft. During the 2010s, leaked gameplay videos of Warcraft Adventures were posted on the Internet by Russian fans. A nearly-finished version of the game was released illegally online in September 2016. Reviewing the leaked version, critics generally praised its visuals, but several found its conservative design uninspired.

Gameplay and plot
Warcraft Adventures: Lord of the Clans was a graphic adventure game with a point-and-click interface, which the player would have used to navigate the world, collect items, solve puzzles and interact with non-player characters. It was set in the Warcraft universe two years after the events of Warcraft II: Beyond the Dark Portal. In that game, the human Alliance defeats the orc Horde, which is then split between Azeroth—the human plane—and the orc homeworld of Draenor. In Warcraft Adventures, the defeated orcs left on Azeroth were confined to reservations and reduced to slavery. Alcoholism and passivity spread among them. The player assumed the role of Thrall, an orc raised from infancy as a slave by the human Lieutenant Blackmoore, who had found Thrall on a battleground during the events of Warcraft: Orcs & Humans. Blackmoore kept Thrall from encountering other orcs throughout his early life, and sought to raise him as a pawn to rally the orcs as his personal military and conquer Azeroth.

In response to Thrall's failure to execute another orc, Blackmoore would have sent him to a dungeon cell, wherein the game began. As Thrall, the player was planned to have escaped Blackmoore's castle by impersonating a human. The player subsequently explored the wartorn Azeroth to learn about the orcs' plight and history, which would have led to the discovery that Thrall's race had abandoned its traditional shamanism and way of life in favor of black magic and demonic power. This shift had caused the orcs' evil actions in Warcraft: Orcs & Humans and Warcraft II: Tides of Darkness. To rebuild the Horde around its original traditions, Thrall sought to reunite its disparate factions by gaining the trust of the surviving chiefs, including Orgrim Doomhammer, Killrogg Deadeye and Grom Hellscream. Thrall was eventually to be revealed as the son of Durotan, who had led the orcs' Frost Wolf Clan until his murder by the orcs Rend and Maim Blackhand. In the end, Thrall would have rallied the Horde as its leader, and led an attack against its human captors that defeated Blackmoore.

Conception
In the second half of 1996, Blizzard Entertainment's Allen Adham stated that his company was "looking into the possibilities of doing more with the orcs and humans, which includes non-game types of enterprises, but there's nothing in the works at the moment." Warcraft Adventures: Lord of the Clans was ultimately conceived at Blizzard late that year, around "four or five months" after the release of Warcraft II: Beyond the Dark Portal in May 1996, according to producer Bill Roper. The team's inspiration for the project was a proposal by Capitol Multimedia, a subsidiary of Blizzard parent Davidson & Associates, to use the Warcraft license for a graphic adventure game. Blizzard was introduced to the game development and animation studio Animation Magic, purchased by Capitol in 1995, and was impressed by its art department. The studio had previously produced titles including the Magic Tales series for Davidson, as well as the Legend of Zelda games for the CD-i game console. Roper noted that the company's work "totally reminded us of all of those adventure games we loved playing", and Blizzard chose to co-develop the game with the team.

Blizzard had considered a graphic adventure for several years, but lacked the capacity to create the art assets for such a game. The promise of working with a team experienced in the genre clinched the project. At the time, Roper compared Capitol's pitch to seeing Condor's original proposal for Diablo, and called it a "very natural course" for Blizzard and "a perfect fit for who we are." Chris Metzen, writer of Warcraft Adventures, said that Blizzard was also growing tired of the real-time strategy genre during that period. Roper similarly remarked that the company was hoping to branch out beyond strategy games, and to become a developer of varied titles that matched the "eclectic" taste of its staff. The Warcraft Adventures concept appealed to the team in part because it allowed greater room than a strategy title to explore Warcraft's setting, much of which was contained in an internal series bible. It was intended to create the story foundation upon which the series' next strategy entry, Warcraft III, would build. Blizzard's Rob Pardo later said that the project was the first time that the developer "started seeing [its franchises] as intellectual properties", without concrete ties to genre. The team envisioned Warcraft Adventures as the first game in a possible series of story-based Warcraft spin-offs in the adventure genre.

After agreeing to the project, Blizzard began to generate concept art for Animation Magic, and to develop the game design. The team opted for a purposely conservative approach to the design of Warcraft Adventures. During development, Roper said that the adventure genre had "very defined standards" and expectations, and that Blizzard was "not necessarily looking to make the next great innovation in adventure game interfaces or rewrite the book on how adventure games are done". To this end, the team focused on high-quality storytelling and comic writing, which it perceived as the genre's core traits. Roper later said that Blizzard hoped to copy the features of its favorite adventure games, in contrast to newer entries in the genre, which the team felt lacked an emphasis on plot, puzzles that emerged naturally from the world and strong voice-over work. The team's primary reference points were LucasArts adventure games, particularly the 1995 titles The Dig and Full Throttle, although without the latter's use of arcade-action sequences. Certain Sierra On-Line adventures inspired the team as well. In 2009, IGN's Travis Fahs summarized that the team designed the game "as fans", and sought to borrow from the period's best adventure titles in the way that Warcraft: Orcs & Humans had borrowed from Dune II.

Production
Production of Warcraft Adventures was split between multiple locations. Although the project direction and design occurred in Irvine, California at Blizzard Entertainment, the code and art were developed by divisions of Animation Magic: the former in Boston, and the latter in Saint Petersburg, Russia. By early 1997, the animation team at the Russian office numbered around 50 members, but this figure rose to roughly 100 by the following year. In addition, Blizzard coordinated with Capitol Multimedia during the project, and by 1998 the South Korean animation studio Toon-Us-In was involved in producing the full motion video animated cutscenes. The direction of the art was a collaborative effort. At the beginning, Bill Roper explained that Blizzard "gave [Animation Magic] a world sheet, which was basically 'Here is the world. This is what the characters are like. Here are sketches of some, some of the descriptions.' " The art team built from this framework, and periodically delivered the results to Blizzard for approval. Animation Magic also offered input on certain game design decisions, although Roper noted that "the vast majority" of Warcraft Adventures' design derived from Blizzard. As with all Blizzard projects of the time, the game was internally overseen by a small "Strike Team" within the company.

In writing the script, Blizzard sought to humanize and deepen the portrayal of the Orc race, whose situation in Warcraft Adventures Chris Metzen compared to that of real-world American Indians. The team hoped to make the story accessible and interesting to both Warcraft fans and newcomers, while including numerous characters from the strategy titles. Metzen likened the game's plot to the films Spartacus, Braveheart and Dances with Wolves, and described Warcraft Adventures as a hero's journey, in reference to the theories of Joseph Campbell. The choice to make the game a comedy derived in part from a desire to counterbalance its dark themes. According to Cindy Yans of Computer Games Strategy Plus, Blizzard fleshed out the cast via "tongue-in-cheek projection" of what it thought each character would do during peacetime.

Warcraft Adventures' script was not written for particular actors, and its initial voice-recording sessions in Boston did not include major names, although all roles were portrayed by professional union members. According to Metzen, Blizzard decided that "a few characters [...] needed an extra boost" after reviewing these tapes, and chose to seek more recognizable actors for certain key roles. The team began to recall its favorite voices from other properties, including that of Optimus Prime from The Transformers; and that character's actor, Peter Cullen, was hired as a result. Other hires during this period included Tony Jay, who appeared in 1996's The Hunchback of Notre Dame; and the voice of Thrall, Clancy Brown. While Roper had voiced characters in Warcraft II: Tides of Darkness, he was unable to contribute new lines to Warcraft Adventures because of union restrictions, as he was not a member. To circumvent this issue, lines that Roper had voiced in previous Warcraft games were inserted into certain scenes.

According to Colin Williamson of PC Gamer US, Blizzard struggled to adapt to the adventure genre. Roper commented in 1998 that the "development process in putting together an adventure title is very backwards from a real-time strategy game", since aspects such as voice recording and screenwriting occur at the beginning of the project. The production pipeline became a major source of problems for the team. While Blizzard used rapid iterative design techniques to develop its games, the distance between the teams creating Warcraft Adventures slowed down production and made the iteration process more challenging. Roper later recalled "a lot of odd-hour phone calls and faxing and e-mailing of files and working through language barriers" while managing the project.

The 2D animation style of Warcraft Adventures was chosen to maintain visual consistency with the Warcraft strategy games, a major concern of Blizzard's. This was in contrast to the pre-rendered 3D graphics featured in certain other games of the time, including Warcraft II: Tides of Darkness, whose 2D artwork had been drawn overtop pre-rendered 3D models. When it was announced in March 1997, Warcraft Adventures was slated to include above 40,000 individual animation frames, 70 characters and 60 areas for the player to visit. Around 20 minutes' worth of animated cutscenes were ultimately created for the game. The quality of Animation Magic's output was a concern for Blizzard, and the team had difficulty keeping the Russian team in line with the "anal-retentive" attention to detail of the Irvine team, according to Roper. Blizzard's Micky Neilson later recalled a moment early in the project when Metzen, alongside artists Samwise Didier and Ron Millar, traveled to the Russian office to coordinate with the animators. He noted that Blizzard had been unable to convey its directions remotely, and that "the art improved [after the visit], though it still had a ways to go before reaching Blizzard quality." Didier and Metzen continued to put long hours into managing the Russian team through early 1997; in Neilson's view, the project began "taking a lot longer than expected." Later that year, Roper reported that Blizzard felt the art was coming out well.

Warcraft Adventures was initially set for a 1997 holiday shopping season release for Windows 95 and Mac OS, and was Blizzard's second title planned for that year, alongside StarCraft. According to Neilson, Warcraft Adventures was growing close to completion around August 1997, but Blizzard was unsatisfied with the results. He saw StarCraft, which had just undergone a redesign, as the higher-quality project at that time. Neilson wrote, "The prevailing opinion was that the game wasn't as fun as the adventure games we had all come to know and love. Beyond that, however, even the adventure games of that time were moving to 3D." Meetings were held about reworking the game. Late in August, PC Gamer US reported that Warcraft Adventures had been delayed until "the first half" of the following year. Reasons given publicly for the delay included the creation of new cutscenes to replace the ones already in the game, and the introduction of unannounced features. Combined with the delay of StarCraft, the setbacks to Warcraft Adventures were troubling to Blizzard, as they resulted in no flagship titles being launched in 1997.

Redesign by Steve Meretzky
Hoping to bring Warcraft Adventures up to company standards, Blizzard Entertainment contracted adventure game designer Steve Meretzky as a consultant in early 1998. Meretzky had created Infocom titles such as The Hitchhiker's Guide to the Galaxy and Planetfall, and had recently released The Space Bar with Boffo Games. Blizzard saw him as an expert in the genre, who could correct any mistakes that the team had made due to inexperience. By the time Meretzky was hired, Warcraft Adventures had reached the alpha stage and was almost finished. Voice recording and most of the visuals were complete, and the game could be played from beginning to end, albeit with software bugs. According to Meretzky, the results were seen internally at Blizzard as "good, but not great", and he personally felt that the game's "art was not terrific and the design was only adequate."

Meretzky spent a week at Blizzard's Irvine headquarters in mid-February 1998, during the final crunch period for StarCraft. The goal of his visit was to review the entirety of Warcraft Adventures in detail, and to help the team improve the game with minimal changes to the art and story already created. Bill Roper later said that the game had cost "a decent chunk of change", and was "under serious time and budget constraints" that precluded a heavy redesign. Discussing Meretzky's involvement publicly at the time, Susan Wooley of Blizzard stated that the company "wanted to make sure we weren't getting too close" to Warcraft Adventures. Meretzky proceeded to work 10- to 14-hour days alongside the team, and collaborated with Roper and Chris Metzen on a revised plan for the game, including dialogue and gameplay additions and a total overhaul of the user interface. The plan also entailed edits to the game's puzzles, and the creation of certain new art assets. Meretzky said that he and the team "moved some scenes around and added a little bit and tried to be surgical", to avoid heavy increases in budget and development time.

After his week at Blizzard's main office, Meretzky returned to Massachusetts and finished the job remotely. His time on Warcraft Adventures ultimately totaled around two weeks. Soon after his visit, Wooley reported that Blizzard had enjoyed its work with him and might hire him again. Roper later echoed this praise for Meretzky's contributions, which he said left the game with "a much, much stronger series of puzzles that tied in much better to the storyline." Meretzky also signed Roper's copy of Superhero League of Hoboken during the period. In 2016, Meretzky stated that even the planned revisions to Warcraft Adventures would have resulted in an average adventure game. However, he enjoyed the title's story and voice acting, and its core idea of rendering the Warcraft universe in finer and more intimate detail. Despite Meretzky's redesign, Blizzard did not initially project a delay for the game, which remained set for a summer 1998 launch.

Cancellation
Following the conclusion of Steve Meretzky's work, Blizzard continued to develop Warcraft Adventures for roughly three months. By mid-March 1998, its release date had been pushed back to fall; it soon slipped to winter. However, most of Meretzky's redesign ultimately was not used in the game. As the team prepared a software build for the 1998 Electronic Entertainment Expo (E3), the "Strike Team" overseeing Warcraft Adventures convened to assess the project. By this time, the game was in direct competition with the visually superior The Curse of Monkey Island, and LucasArts had begun to show off its upcoming 3D adventure Grim Fandango. As a result, Warcraft Adventures appeared technologically dated. In addition, the team estimated that implementing Meretzky's plan would require another half-year of work. Roper believed that improving the game to Blizzard's expected level of quality meant "starting over", and that a delay into 1999 was possible. In 2001, Blizzard's Mike Morhaime placed internal estimates at 9–12 months of added development time before Warcraft Adventures would have been brought to standard.

As a result of the review, the "Strike Team" opted to end development of Warcraft Adventures, which Roper called the "best [option] for our brand and the WarCraft license." The cancellation meeting contained around five senior members. According to Roper, the choice was difficult but was reached collectively, and came as a relief to a team that had been "desperately trying to will this [game] into being". Because the decision arrived just before Warcraft Adventures' scheduled appearance at E3, the game's designated booth space was replaced with kiosks for StarCraft. On May 22, 1998, Warcraft Adventures was publicly cancelled, after roughly 18 months of development. At the time, GameSpot's Ron Dulin and Curt Feldman called this event "the beginning of a trend" at the developer, citing its 1996 cancellation of Pax Imperia 2 for failing to meet internal quality standards.

In retrospect, Roper considered Blizzard's conservative design plan for Warcraft Adventures to be its greatest mistake, and called it "the only thing I would have changed". He felt that the company's lack of forward thinking on the project left it outpaced by more ambitious games like Grim Fandango. Following the game's cancellation, he told GameSpot,

"'I think that one of the big problems with Warcraft Adventures was that we were actually creating a traditional adventure game, and what people expected from an adventure game, and very honestly what we expected from an adventure game, changed over the course of the project. And when we got to the point where we cancelled it, it was just because we looked at where we were and said, you know, this would have been great three years ago.'"

Pre-release
The announcement of Warcraft Adventures came as a surprise to the game industry, according to Colin Williamson of PC Gamer US, whose own publication had initially been skeptical of Blizzard Entertainment's ability to develop a graphic adventure. In mid-1997, Computer Games Strategy Plus described it as "perhaps the most surprising game of the year". However, excitement grew high for the game among players and journalists; Williamson felt that it could rival LucasArts' adventures. It was the cover story for PC Gamer USs June 1997 issue, and appeared at E3 1997 in CUC Software's display within the Inforum center, where the press highlighted Warcraft Adventures "beautiful cel-based animation" and "Disneyesque graphics, smooth scrolling environments, and rich story and humor." A writer for Computer Gaming World remarked of the showing, "They've conquered the strategy and RPG genres, and now the Blizzard wunderkinds are taking on adventure games in their newest title—and only a fool would bet against them."

By 1997, concern was rising inside the game industry that the adventure genre was in danger of dying out, an issue of which Blizzard was aware. At the time, Todd Vaughn of PC Gamer US and Cindy Yans of Computer Games Strategy Plus both wrote that high-quality "traditional adventures" were growing rare, while CNET Gamecenter's Jeffrey Adam Young found that the genre had been flooded by "duds" such as Timelapse, Normality and Broken Sword: The Shadow of the Templars. However, a similar decline had been noted among computer role-playing games before the release of Blizzard's Diablo, which had become a mainstream hit in that genre. Discussing Warcraft Adventures in this context, Bill Roper argued that "everyone claimed RPGs were dead, but they were dead only because developers weren't doing enough with them, and people got bored and moved on to something else." Vaughn, Young and Yans all cited Warcraft Adventures as a game that could re-energize the graphic adventure genre,  and Yans remarked in August 1997 that Blizzard had considered and dismissed the theory that the field was in decline. During his talk "Are Adventure Games Dead?" at the May 1998 Computer Game Developers Conference, Steve Meretzky likewise called Warcraft Adventures a "particularly encouraging sign" for the genre, given Blizzard's track record of commercial success.

Response to cancellation
The cancellation of Warcraft Adventures was met with widespread disappointment from players, to a degree that Blizzard Entertainment did not anticipate. By that time, the company believed that the audience for adventure games had shrunk; citing poor sales of The Curse of Monkey Island, Mike Morhaime later noted that adventures with 2D graphics had been "aging fast" as a genre. Bill Roper remarked, "I think that one of the bigger shocks was [finding] that people would be interested in it at all." He considered the blowback to be a strong vote of confidence in the Warcraft license. Following the cancellation of Warcraft Adventures, fans Philipp Schneider and Christian Giegerich created an online petition to support the project's revival, which garnered 1,737 signatures by August 1998. After they sent the results to Blizzard, the company responded on August 19 by thanking its audience but reaffirming its decision to cancel the game. In an open letter, Blizzard stated,

"'It was a hard call to make, but each of us knows that it was the right choice. The cancellation was not a business or marketing decision or even a statement about the adventure genre. The decision centered around the level of value that we want to give our customers. In essence, it was a case of stepping up and really proving to ourselves and gamers that we will not sell out on the quality of our games.'"

At the time, Jeff Green of Computer Gaming World wrote that Warcraft Adventures' cancellation "hit [him] hard" and was his "Bummer of the Year". The magazine's Terry Coleman called it a sign that Blizzard had lost its independent status, and theorized that corporate pressure had played a role in the decision. This view was later echoed by Alex Cachinero-Gorman of Hardcore Gaming 101, who cited statements by Mike Morhaime as evidence that the cancellation was "as much a numbers game as anything about game quality", and that "the prospect of a lost investment did not motivate them to apply their characteristic rigor". Conversely, Steve Meretzky said in 2016 that the cancellation "made me sad at the time", but that Warcraft Adventures' relatively low quality meant that Blizzard had taken the best route. In retrospect, Amer Ajami of GameSpot opined that the game's cancellation arguably marked "the death knell" of the adventure game genre as a whole.

Around two months after Warcraft Adventures was canceled, a group of ten Blizzard employees quit the company to form a new studio. Among them was James Phinney, a key figure on StarCraft. According to Blizzard's Micky Neilson, several factors—including the scandal at Blizzard parent Cendant—caused this event. However, he noted that "for some the cancellation of Warcraft Adventures was the final straw."

Legacy
Following the end of Warcraft Adventures' development, Blizzard Entertainment publicly clarified that it would revisit the Warcraft universe in the future. In May 1999, the company announced an impending agreement with an unnamed publisher to release three Warcraft novels, alongside novelizations of StarCraft and Diablo. The deal was ultimately signed with Pocket Books. Early in the development process for the Warcraft book trilogy, Bill Roper hinted that Warcraft Adventures' story could reappear in one of the novels. This resulted in Warcraft: Lord of the Clans in October 2001, written by Christie Golden and intended to set the stage for Warcraft III. The book is considered canonical. According to Golden, "Chris Metzen liked the story line and wanted to see it live in some format." Receiving the assignment after its first author had failed to finish it, Golden was given a six-week deadline for Lord of the Clans, based on a modified version of Metzen's original plot outline from the game. She proceeded to write several other novels for Blizzard because of her enjoyment of this project, among them World of Warcraft: Arthas: Rise of the Lich King, the company's first New York Times Best Seller. Blizzard hired her to a full-time position at the company in 2017.

In August 1998, Roper confirmed that Blizzard planned to complete the animated cutscenes for Warcraft Adventures, as they could help Blizzard sell film and television studios on the idea of adapting the property. He remarked, "It's one thing to have a bunch of cool stills, and it's another thing to have a fifteen-minute short to show them." While this plan was shelved, the Warcraft Adventures story proceeded to inspire much of the later Warcraft franchise. When the game was first announced in early 1997, speculation arose that Blizzard planned to follow it with the real-time strategy game Warcraft III, which the company confirmed a few months later. Intended from the start to build upon the events of Warcraft Adventures, Warcraft III ultimately continued the story of Thrall, and takes place after his reunification of the Horde and defeat of its human captors. Thrall continued to play a major part in the MMORPG World of Warcraft, and his father Durotan, also created for Warcraft Adventures, featured in the 2016 film Warcraft. Wes Fenlon of PC Gamer US wrote in 2016, "Few canceled games can claim to have as much impact as Lord of the Clans, and in the end it seems like Thrall was more valuable than the game itself."

In 2017, Alex Cachinero-Gorman wrote that Warcraft Adventures "spawn[ed] wistful retrospectives every few years". PC Gamer US named it one of the "Greatest Games (Never Made)" in 1998, and included it in a list of the "10 Cancelled PC Games We Still Want To Play" in 2011. Its development was also the subject of a long "PC Gaming Graveyard" feature by GameSpot, the site's first in this series. However, in response to questions about the game's revival in 2009, Samwise Didier remarked, "DVDs are really popular because of deleted scenes, but when you watch them you can see why they weren't included in the movie. That's what Warcraft Adventures is." The cancellation of Warcraft Adventures is often cited as an example of Blizzard's "willingness to cancel a game late in development to protect the quality of their brand", according to Cachinero-Gorman. It was among a years-long string of cancellations at Blizzard, including Pax Imperia 2, Shattered Nations, Crixa, Nomad and StarCraft: Ghost, alongside the Titan project canceled in 2014 after roughly seven years' development. Calling this trend the key to Blizzard's success in 2016, Kat Bailey of USgamer regarded Warcraft Adventures' cancellation a wise choice for Blizzard's brand, as otherwise "it might still be an object of ridicule today."

Leaks and reaction
A Russian fan under the pseudonym "MAN-Biker" leaked under two minutes of gameplay footage of a Warcraft Adventures alpha version via a YouTube video in 2010, and a beginning-to-end longplay of a beta version in 2011, without cutscenes. According to PC Gamer US, he had received his copy from a Russian game developer in the late 2000s, although this developer had not personally worked on Warcraft Adventures.

A complete, playable Warcraft Adventures, including its cutscenes, was leaked onto the Scrolls of Lore Warcraft fansite by a Russian fan under the screen name screen name "Reidor" on September 9, 2016. Reidor told PC Gamer US that he had been sent the files by an unnamed third party. Soon after, the version shown in MAN-Biker's videos was leaked as well. Chris Higgins of PCGamesN speculated that these copies of the game derived from employees at Animation Magic's Russian office. Blizzard responded with takedown notices to Reidor and peer-to-peer file sharing websites that hosted the game, but Wes Fenlon remarked, "By then, of course, it was too late."

Reviewing the leaked version, Fenlon called Warcraft Adventures "a conventional, borderline dull point-and-click adventure" that fails to capitalize on its roots in the Warcraft series. Richard Cobbett of Rock, Paper, Shotgun concurred on both points, and concluded, "It's not a terrible adventure, but there's no point in the 90s when it would have been a great one." However, both writers praised the game's visuals, particularly in comparison to Animation Magic's efforts on Link: The Faces of Evil and Zelda: The Wand of Gamelon. Alex Cachinero-Gorman offered a mixed opinion on the art, and criticized the game's use of noble savage characters and references to Native American life, which he considered shallow and "nauseating". However, he broke with Cobbett and Fenlon on the game's overall quality: in his view, Warcraft Adventures is "far from boring" and possibly "the most polished game ever to be canceled."

title: Warcraft Adventures: Lord of the Clans


text:
Kenneth

Kenneth is a given name of Gaelic origin. The name is an Anglicised form of two entirely different Gaelic personal names: Cainnech and Cináed. The modern Gaelic form of Cainnech is Coinneach; the name was derived from a byname meaning "handsome", "comely". A short form of Kenneth is Ken.

Etymology
The second part of the name Cinaed is derived either from the Celtic *aidhu, meaning "fire", or else Brittonic jʉ:ð meaning "lord".

People

 * (see also Ken (name) and Kenny)

• Cainnech of Aghaboe (515/16–600), Ireland, Saint Canice or Saint Kenneth

• Saint Cenydd or Welsh Saint Keneth, (a separate individual from above)

• Kenneth (1927–2013), born Kenneth Battelle, American celebrity hairdresser

• Kenneth MacAlpin, Kenneth I of Scotland

• Kenneth II of Scotland

• Kenneth III of Scotland

• Kenneth J. Alford (1881–1945), English composer

• Kenneth Allen (murderer) (born 1942), American murderer

• Kenneth Allott (1912–1973), Anglo-Irish poet and academic

• Kenneth Alwyn (1925–2020), English conductor and composer

• Kenneth Amis (b. 1970), Bermudian tuba player

• Kenneth Anger (b. 1927), American avant-garde-film director

• Kenneth Arrow (1921–2017), American economist, Nobel Memorial Prize in Economics winner, 1972

• Kenneth Bager (b. 1962), Danish musician and record producer

• Kenneth Bainbridge (1904–1996), American physicist

• Kenneth Baker, Baron Baker of Dorking (b. 1934), UK Home Secretary

• Kenneth Barner, American engineer

• Kenneth Beard (1927–2010), English Cathedral Organist

• Kenneth Benton (1909–1999), British MI6 officer and author

• Kenneth Bressett (b. 1928), American numismatist

• Kenneth Bianchi (b. 1951), American serial killer, one of the Hillside Stranglers

• Kenneth Bigley (1942–2004), contractor, beheaded on television in Iraq

• Kenneth W. Bilby (1918–1997), American recipient of the Legion of Honour, executive vice president of RCA, and author

• Kenneth Blevins, American drummer and percussionist

• Sir Kenneth Bloomfield (b. 1931), former Head of the Northern Ireland Civil Service

• Kenneth E. Boulding (1910–1993), economist

• Kenneth Box (b. 1930), British track and field sprinter

• Sir Kenneth Branagh (b. 1960), Irish Shakespearean and film actor

• Kenneth Bron (Kenny B) (b. 1961), Surinamese-born singer

• Kenneth Bruffee (1934–2019), Professor emeritus at Brooklyn College

• Kenneth Burke (1897–1993), American literary theorist and philosopher

• Kenneth Calman (b. 1941), English chief medical officer

• Kenneth Carpenter (b. 1949), paleontologist

• Kenneth G. Caulton, inorganic chemist and professor

• Kenneth Chenault (b. 1951), former CEO of American Express

• Kenneth Arnold Chesney (b. 1968), American country singer

• Kenneth Church (1930–2020), Canadian jockey

• Kenneth Clark (1903–1983), English art historian

• Kenneth Clark (psychologist)

• Kenneth Clarke (b. 1940), Chancellor of the Exchequer

• Kenneth Cole (b. 1954), American clothing designer

• Kenneth Colley (b. 1937), English actor

• Kenneth R. Conklin, activist

• Kenneth Connor (1918–1993), British comedic actor

• Kenneth Cope (b. 1931), English actor

• Kenneth Cope (musician) (b. 1961), Mormon music composer

• Kenneth Darling (1909–1998), British general

• Kenneth C. Davis, American historian, author

• Kenneth Dougall (b. 1993), Australian football player

• Kenneth Dover (1920–2010), British academic

• Kenneth "K. K." Downing (b. 1951), guitarist

• Kenneth J. Dunkley (b. 1939), American inventor

• Kenneth Easterday (1973–2016), American man born with the rare disability, sacral agenesis

• Kenneth Edmonds ("Babyface") (b. 1959), American R&B singer

• Kenneth Erskine (b. 1963), serial killer

• Kenneth H. Fake (1895–1963), American politician

• Kenneth Farrow (American football) (b. 1993), American football player

• Kenneth Fearing (1902–1961), American poet

• Kenneth Feinberg (b. 1945), American attorney

• Kenneth Frampton (b. 1930), British architect and architecture critic

• Kenneth Gainwell (b. 1999), American football player

• John Kenneth Galbraith (1908–2006), Canadian-American economist

• Kenneth Gamble (b. 1943), songwriter and producer

• Kenneth Gasana (b. 1984), Rwandan basketball player

• Kenneth J. Gergen (b. 1935), American psychologist

• Kenneth R. Giddens (1908–1993), broadcaster

• Kenneth Gorelick (Kenny G) (b. 1956), smooth jazz professional saxophonist

• Kenneth Grahame (1859–1932), British author

• Kenneth C. Griffin (b. 1968), American entrepreneur and billionaire

• Kenneth E. Hagin (1917–2003), Pentecostal minister

• Kenneth L. Hale (1934–2001, American linguist

• Kenneth Halliwell (1926–1967), British actor, lover and murderer of Joe Orton

• Kenneth Ham (b. 1954), American astronaut

• Kenneth "Ken" Holtzman (b. 1945), American Major League Baseball pitcher

• Kenneth "Ken" Hon, American geologist and head of Hawaiian Volcano Observatory.

• Kenneth Horne (1907–1969), English actor and comedian

• Kenneth Gardner Hughes (b. 1954), Canadian politician

• Kenneth Hutchings (1882–1916), English amateur cricketer

• Kenneth Irons, comic book character in Witchblade

• Kenneth E. Iverson (1920–2004), Canadian computer scientist, developed the APL programming language

• Kenneth V. Jones (1924–2020), British composer

• Kenneth Katzner (1930–2003), American linguist

• Kenneth Kaunda (1924–2021), first President of Zambia

• Kenneth Keating (1900–1975), US Senator

• Kenneth Kedi (b. 1971), Marshallese politician

• Kenneth Kendall (1924–2012), British newsreader

• Kenneth Keith Kelley (1901–1991), American chemist

• Kenneth Kennedy (speed skater) (1913–1985), Australian Winter Olympian

• Jonathan King (b. 1944), born Kenneth George King, pop music mogul

• Kenneth Kitchen (b. 1932), British historian, Egyptologist

• Kenneth Klassen (b. 1951), Canadian sex tourist

• Kenneth Koch (1925–2002), American poet

• Kenneth Kraus (b. 1956), former United States Marine

• Kenneth Lawson (b. 1963), law professor and former lawyer

• Kenneth Lay (1942–2006), American businessman, former CEO of Enron

• Kenneth Livingstone (b. 1945), English politician

• Kenneth Ma (b. 1974), Hong Kong actor

• Kenneth McKellar (1869–1957), American politician

• Kenneth McKellar (1927–2010), Scottish singer

• Kenneth Barbour Montgomery (1897–1965), English World War I flying ace

• Kenneth More (1914–1982), English actor (Genevieve, Reach for the Sky)

• Kenneth Murdock (born 1963), Canadian truck driver who was a hitman for the Musitano crime family of Hamilton, Ontario

• Kenneth Murray (disambiguation), multiple people

• Kenneth O'Keefe (b. 1969), American-Irish-Palestinian activist

• Kenneth Roderick O'Neal (1908–1989), African-American architect

• Kenneth Odumegwu (born 2000), Nigerian-American football player

• Kenneth A. Oye (b. 1949), Associate Professor of Political Science and Engineering Systems, MIT

• Kenneth Parcell from 30 Rock

• Kenneth Parnell (1931–2008), American convicted sex offender, child rapist, and kidnapper

• Kenneth Paschal (born 1966), American politician

• Kenneth Perez (b. 1974), Danish footballer

• Kenneth Lee Pike (1912–2000), American linguist and anthropologist

• Kenneth Platts (1946–1989), British composer

• Kenneth Ramchand (b. 1939), Trinidad and Tobago academic and writer

• Kenneth Rexroth (1905–1982), American poet

• Kenneth Robinson (British politician) (1911–1996), British politician and broadcaster

• Kenneth Rose (1924–2014), royal biographer

• Kenneth Ross, Scottish-American screenwriter of the films The Day of the Jackal, The Odessa File, etc.

• Kenneth G. Ross (b. 1941), Australian playwright, and screenwriter of the film Breaker Morant

• Kenneth Schellenberger (b. 1948), Canadian politician

• Kenneth Searight (1883–1957), British writer and linguist

• Kenneth Shaw ("Buzz" Shaw) (b. 1939), American academic, college chancellor

• Kenneth Slessor (1901–1971), Australian poet

• Kenneth Starr (b. 1946), American lawyer, special investigator of U.S. President Bill Clinton

• Kenneth M. Taylor (1919–2006), American WWII pilot

• Kenneth Thomson, 2nd Baron Thomson of Fleet (1923–2006), Canadian businessman, billionaire

• Kenneth Tigar (b. 1942), American actor

• Kenneth Tolon II (b. 1981), college football player

• Kenneth Tynan (1927–1980), English theatre critic and writer

• Kenneth Vance, American politician

• Kenneth N. Waltz (1924–2013), American political scientist

• Kenneth Warren (1926–2019), British Conservative Party politician

• Kenneth Welsh (1942–2022), Canadian actor

• Kenneth Williams (1926–1988), English comedian and actor

• Kenneth G. Wilson (1936–2013), American theoretical physicist, winner of the Nobel Prize in Physics, 1982

Fictional characters

 * Kenneth Widmerpool, character in Anthony Powell's novel sequence A Dance to the Music of Time

Places
In the United States: In Scotland:
 * Kenneth, Minnesota
 * Kenneth City, Florida
 * Inch Kenneth, an island off the west coast of the Isle of Mull

Other

 * "What's the Frequency, Kenneth?", a song by R.E.M.
 * Hurricane Kenneth
 * Cyclone Kenneth

title: Kenneth


text:
Alex Rae (footballer, born 1969)

Alexander Scott Rae (born 30 September 1969) is a Scottish professional football manager and former player who played as a midfielder. He currently acts as a first team coach to Philippe Clement at Rangers.

Rae began his youth career at Rangers and started his senior career at Falkirk. Rae played for Millwall, Sunderland, Wolverhampton Wanderers, Rangers, Dundee, Milton Keynes Dons. Back from rehab clinic for alcoholism in 1998, he was with Sunderland and played regularly in the top flight until September 2001. He then joined Wolverhampton Wanderers, and quickly became the key player in the team, winning the fans' player of the season award. In 2003, he helped the team back into the Premier League, and had his best seasonal tally with 8 goals. He then went back to Scotland, joining Rangers where he had started his youth career, in May 2004, and won the league title in his first season.

Rae was appointed player-manager of Dundee in May 2006. He led the club to third place in the First Division in his first season and took them a place higher in his second. He stopped his career as a footballer during the 2008–09 season and went to Sweden as part of his work towards a UEFA Pro Licence.

Playing career
Rae was born in Glasgow. He started his career as a youngster at boyhood heroes Rangers but was rejected by boss Graeme Souness. He dropped down to junior leagues with Bishopbriggs before he joined Falkirk and enjoyed a successful two years before heading south to sign for Millwall in 1990 for £100,000. He made his Millwall debut on 25 August 1990 and played for the club for six years. While at the club he would go on to become one of Millwall's highest goalscorers, with 71 goals in all competitions. His form for Millwall earned him a big money move to Premier League Sunderland for £1 million in 1996, where he established himself as a crowd-pleasing, combative midfielder. His career took a downturn though, as he descended into alcoholism, leading to him attending a rehab clinic during 1998. He stayed sober after this treatment and further rehabilitation, and later became a patron for the Sporting Chance clinic.

Back on the field, he won promotion as champions back to the Premier League with Sunderland in 1998–99 and played regularly in the top flight. By 2001, he had dropped out of manager Peter Reid's plans and was sold to Wolverhampton Wanderers in September 2001, for £1.2 million. He quickly became an important player for Wolves, winning the fans' player of the season award in his first campaign. The following year, he helped them back into the Premier League when they won the play-offs in 2003. He had a strong year in the top flight, finishing as the club's leading scorer with eight goals – his best-ever seasonal tally – but could not prevent the club's relegation. Rae re-signed for Rangers in May 2004, and won the league title in his first season, scoring once in the process against Dunfermline. He only featured 12 times in his second season, however, and was later released by the club.

Coaching and managerial career

Rae was appointed player-manager of Dundee on 24 May 2006. He led the club to third place in the First Division in his first season and took them a place higher in his second. He gave up playing for the 2008–09 season but was sacked on 20 October 2008 with the team in eighth place in the league. Following this, Rae travelled to Sweden as part of his work towards a UEFA Pro Licence.

In July 2009 he joined MK Dons, on a temporary basis with a view to a permanent deal, as first team coach working under his former Wolves teammate Paul Ince.

In 2010, Rae made a return to competitive football to cover for injuries. On 29 October 2010, Rae joined Notts County as assistant manager, but he left the club following the departure of manager Paul Ince on 3 April 2011.

In February 2013, Rae joined Blackpool, once again with Paul Ince. The season finished with Blackpool in 15th place.

On 21 January 2014, along with Paul Ince, Rae's Blackpool contract was terminated and he left the club. In August 2014 he became assistant manager at Belgian club KRC Genk, working with Alex McLeish.

Rae was appointed manager of Scottish Championship side St Mirren in December 2015, after former manager Ian Murray resigned. After an unsuccessful start to the 2016–17 season, Rae and his assistant David Farrell were sacked by the club.

Rae became assistant to Paul Ince at Reading in February 2022. On 11 April 2023, Rae and Ince were sacked by Reading. On 1 October 2023, Rae joined Scottish Premiership side Rangers as a first-team coach after the sacking of manager Michael Beale.

Honours
Sunderland
 * Football League First Division: 1998–99

Wolverhampton Wanderers
 * Football League First Division play-offs: 2003

Rangers
 * Scottish Premier League: 2004–05
 * Scottish League Cup: 2004–05

Scotland U21
 * UEFA under-21 Euros: Bronze 1992
 * Toulon Tournament: Bronze 1991

Individual
 * PFA Team of the Year: 1995–96 First Division

title: Alex Rae (footballer, born 1969)


text:
Help talk:Mobile access

"Accessing Wikipedia" listed at Redirects for discussion
A discussion is taking place to address the redirect Accessing Wikipedia. The discussion will occur at Redirects for discussion/Log/2021 April 17 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. the wub "?!"  22:45, 17 April 2021 (UTC)

Improving moderation tools on mobile web - share your opinions!
The Moderator Tools team at the Wikimedia Foundation is working on improvements to the mobile web interface. In particular, we are exploring improvements to tools for content moderators, including patrollers and administrators.

If you edit from a mobile device, or would like to do so more, we want to hear from you so that we can prioritise work on the features which you need most!

Please share your opinions on our project page on MediaWiki. Samwalton9 (WMF) (talk) 10:34, 26 April 2022 (UTC)

Watchlist
At the time of writing this post, there is currently no way to access the watchlist on the Wikipedia app for iOS. The only way I can do so is opening my web browser on my phone and going on the Wikipedia website. I think it should be fixed as it’s a big annoyance to many users, including myself.

ItsCheck (talk) 21:55, 15 June 2023 (UTC)

Is mobile version really mobile-friendly?
On my Android phone, the mobile version displays in such small text that I can't read it. When I rescale the page it has no effect. When I switch to the Desktop version, the text is bigger, and I can rescale it as much as I want. Am I missing something, or is the Desktop version really more mobile-friendly than the mobile version? Why create a "mobile" version which works less well on a mobile device than the Desktop version? Timothy Cooper (talk) 05:45, 13 July 2023 (UTC)

 * You are probably missing something, because others have not reported such a thing. Just hard to say what exactly might be going wrong. —Th e DJ (talk • contribs) 11:15, 13 July 2023 (UTC)
 * Find in page is also broken on my foldable phone/tablet. There is no expand all feature... Mobile users shouldn't be forced into a crippled experience. Expand all should be default... It doesn't help at all if you have an index. Oldarney2 (talk) 19:27, 15 July 2023 (UTC)

#article-section-source-editor
Why is this happening? InfiniteNexus (talk) 02:01, 20 February 2024 (UTC)

 * InfiniteNexus, did you find anything more on this? I found T347431 suggesting it is iPhone edits, and it seems section edit buttons are now standard on the mobile interface. CMD (talk) 02:31, 20 March 2024 (UTC)
 * I did not, but I hope this issue is resolved soon. Otherwise, a post at VPT may be warranted. InfiniteNexus (talk) 04:47, 22 March 2024 (UTC)

title: Help talk:Mobile access


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User talk:Nwallins

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title: User talk:Nwallins


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John Christy

John Raymond Christy is a climate scientist at the University of Alabama in Huntsville (UAH) whose chief interests are satellite remote sensing of global climate and global climate change. He is best known, jointly with Roy Spencer, for the first successful development of a satellite temperature record.

Early life and education
A native of Fresno, California, Christy became interested in the weather when he was a child. He became curious why the weather in the San Joaquin Valley was so different from that of the Sierra Mountains. He has recalled that "I built my first climate datasets when I was 12, using a mechanical pencil, graph paper, and long-division (no calculators back then.) I've been a climate nerd ever since." He received a BA in mathematics from California State University, Fresno in 1973, and an MS and PhD in atmospheric sciences from the University of Illinois at Urbana–Champaign in 1984 and 1987. His doctoral thesis was titled, An investigation of the general circulation associated with extreme anomalies in hemispheric mean atmospheric mass.

Prior to his scientific career, Christy taught physics and chemistry as a missionary teacher in Nyeri, Kenya from 1973 to 1975. After earning a Master of Divinity degree from Golden Gate Baptist Seminary in 1978 he served four years as a bivocational mission-pastor in Vermillion, South Dakota, where he also taught college math.

Career
He is the distinguished professor of atmospheric science and director of the Earth System Science Center at the University of Alabama in Huntsville (UAH). He was appointed Alabama's state climatologist in 2000. For his development of a global temperature data set from satellites, he was awarded NASA's Medal for Exceptional Scientific Achievement and the American Meteorological Society's "Special Award." In 2002, Christy was elected Fellow of the American Meteorological Society.

Satellite temperature record
Since 1989 Christy, along with Roy Spencer, has maintained an atmospheric temperature record derived from satellite microwave sounding unit measurements (see: satellite temperature record). This was once quite controversial: From the beginning of the satellite record in late 1978 into 1998 it showed a net global cooling trend, although ground measurements and instruments carried aloft by balloons showed warming in many areas. Part of the cooling trend seen by the satellites can be attributed to several years of cooler than normal temperatures and cooling caused by the eruption of the Mount Pinatubo volcano. Part of the discrepancy between the surface and atmospheric trends was resolved over a period of several years as Christy, Spencer and others identified several factors, including orbital drift and decay, that caused a net cooling bias in the data collected by the satellite instruments. Since the data correction of August 1998 (and the major La Niña Pacific Ocean warming event of the same year), data collected by satellite instruments have shown an average global warming trend in the atmosphere. From November 1978 through March 2011, Earth's atmosphere has warmed at an average rate of about 0.14 C per decade, according to the UAH satellite record.

Christy was a lead author of a section of the 2001 report by the IPCC and the U.S. CCSP report Temperature Trends in the Lower Atmosphere – Understanding and Reconciling Differences. Christy also signed the 2003 American Geophysical Union statement on climate change.

Christy has also performed detailed reconstruction of surface temperature for Central California. He found that recorded temperature changes there were consistent with an altered surface environment caused by increased irrigation for agriculture, which changed "a high-albedo desert into a darker, moister, vegetated plain."

Views
In a 2003 interview with National Public Radio about the 2003 American Geophysical Union (AGU) statement, he said he is "a strong critic of scientists who make catastrophic predictions of huge increases in global temperatures and tremendous rises in sea levels". He added, though, that "it is scientifically inconceivable that after changing forests into cities, turning millions of acres into irrigated farmland, putting massive quantities of soot and dust into the air, and putting extra greenhouse gases into the air, that the natural course of climate has not changed in some way."

In a 2009 interview with Fortune magazine about signing the 2003 American Geophysical Union (AGU) statement, he said: "As far as the AGU, I thought that was a fine statement because it did not put forth a magnitude of the warming. We just said that human effects have a warming influence, and that's certainly true. There was nothing about disaster or catastrophe. In fact, I was very upset about the latest AGU statement [in 2007]. It was about alarmist as you can get."

In a 2007 editorial in The Wall Street Journal, he wrote: "I'm sure the majority (but not all) of my IPCC colleagues cringe when I say this, but I see neither the developing catastrophe nor the smoking gun proving that human activity is to blame for most of the warming we see."

In a 2009 written testimony to the U.S. House Ways and Means Committee, he wrote: "From my analysis, the actions being considered to 'stop global warming' will have an imperceptible impact on whatever the climate will do, while making energy more expensive, and thus have a negative impact on the economy as a whole. We have found that climate models and popular surface temperature data sets overstate the changes in the real atmosphere and that actual changes are not alarming."

In 2014, Christy and his UAH colleague Richard McNider wrote an op-ed in The Wall Street Journal, arguing that climate models projected temperatures consistently higher than real-world satellite and balloon data. The authors also pointed to past instances where scientific consensus turned out to be incorrect.

Awards

 * 1991: NASA Exceptional Scientific Achievement Medal (with Roy Spencer).
 * 1996: AMS Special Award "for developing a global, precise record of Earth's temperature from operational polar-orbiting satellites, fundamentally advancing our ability to monitor climate" (with Roy Spencer).

title: John Christy


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Galway Kinnell

Galway Mills Kinnell (February 1, 1927 – October 28, 2014) was an American poet. His dark poetry emphasized scenes and experiences in threatening, ego-less natural environments. He won the Pulitzer Prize for Poetry for his 1982 collection, Selected Poems and split the National Book Award for Poetry with Charles Wright. From 1989 to 1993, he was poet laureate for the state of Vermont.

Although exploring arguably darker themes, Kinnell has been regarded as being in line with Walt Whitman in his rejection of the idea of seeking personal fulfillment by escaping into the imaginary world. His most celebrated and commonly anthologized poems include the poem cycle The Book of Nightmares, as well as "St. Francis and the Sow", "After Making Love We Hear Footsteps", and "Wait".

Biography
Born in Providence, Rhode Island, Kinnell said that as a youth he became interested in the poetry of American dark Romantics such as Edgar Allan Poe and Emily Dickinson, drawn to both the musical appeal of their poetry and the allure of their use of language which spoke to what he later described as the homogeneous feel of his hometown, Pawtucket, Rhode Island. He also described himself as being an introvert in his adolescence, which scholars have compared to the aforementioned authors' histories of leading solitary lives.

Kinnell studied at Princeton University, graduating in 1948 alongside friend and fellow poet W.S. Merwin. He received his master of arts degree from the University of Rochester. He traveled extensively in Europe and the Middle East, and went to Paris on a Fulbright Fellowship. During the 1960s, the Civil Rights Movement in the United States caught his attention. Upon returning to the US, he joined CORE (Congress of Racial Equality) and worked on voter registration and workplace integration in Hammond, Louisiana. This effort got him arrested. In 1968, he signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War. Alongside other personal themes and anxieties, Kinnell drew upon both his involvement with the civil rights movement and his experiences protesting against the Vietnam War in his 1971 poem cycle The Book of Nightmares.

Kinnell has been published in Beloit Poetry Journal. From 1989 to 1993 he was poet laureate for the state of Vermont.

Kinnell was the Erich Maria Remarque Professor of Creative Writing at New York University and a Chancellor of the American Academy of Poets. As of 2011 he was retired and resided at his home in Vermont until his death in October 2014 from leukemia.

Work
While much of Kinnell's work has been regarded as dealing with social issues, it is by no means confined to one subject. Some critics have pointed to the spiritual dimensions of his poetry, as well as the natural imagery present throughout his work. For instance, "The Fundamental Project of Technology" deals with all three of those elements, creating an eerie, chant-like and surreal exploration of the horrors atomic weapons inflict on humanity and nature. Kinnell occasionally utilized simple and brutal images ("Lieutenant! / This corpse will not stop burning!" from "The Dead Shall be Raised Incorruptible" in The Book of Nightmares) to convey his anger at the destructiveness of humanity, informed by his activism and love of nature. Scholars have also identified, on the contrary, themes of optimism and beauty in his use of language, especially in the large role animals and children have in his later work, evident in poems such as "Daybreak" and "After Making Love We Hear Footsteps".

In addition to his works of poetry and his translations, Kinnell published one novel (Black Light, 1966) and one children's book (How the Alligator Missed Breakfast, 1982).

Kinnell wrote two elegies for his close friend, the poet James Wright, upon the latter's death in 1980. They appear in From the Other World: Poems in Memory of James Wright.

Kinnell's poem The Correspondence-School Instructor Says Goodbye to His Poetry Students was excerpted in Delia Owens’ novel Where the Crawdads Sing, as a goodbye note left by the protagonist’s mother who left her at a young age.

Personal
Kinnell married Inés Delgado de Torres, a Spanish translator, in 1965 — naming their two children, Fergus and Maud, after figures in Yeats. They divorced after 20 years of marriage. He married Barbara Kammer Bristol in 1997. He had two grandchildren.

Death
Kinnell died October 28, 2014, at his home in Sheffield, Vermont, at the age of 87. The cause was leukemia according to his wife, Barbara K. Bristol.

Collections

 * UK edition: Rapp & Whiting, 1969 (Poetry USA series).
 * "Saint Francis and the Sow" No Mountains Poetry Project Broadside Series (1976)
 * Walking Down the Stairs (a collection of interviews) (1978).
 * "Saint Francis and the Sow" No Mountains Poetry Project Broadside Series (1976)
 * Walking Down the Stairs (a collection of interviews) (1978).
 * "Saint Francis and the Sow" No Mountains Poetry Project Broadside Series (1976)
 * Walking Down the Stairs (a collection of interviews) (1978).

 * —winner of the National Book Award and Pulitzer Prize
 * —winner of the National Book Award and Pulitzer Prize

 * —finalist for the National Book Award
 * —finalist for the National Book Award
 * —finalist for the National Book Award
 * —finalist for the National Book Award
 * —finalist for the National Book Award

 * Translated collections

title: Galway Kinnell