text:
Talk:ImagiNation Network

More content
well im still looking for more content for this page and the pages for the games... if you have any screen shots or other information please update the page or if you dont want to post it here tell us at the Faux Inn Forums and we can post it for you

Pricing
I remember the pricing was around 20 to 40 dollars for unlimited service the time AT&T was running the INN network. The surcharge that is mentioned in this section was mostly if you used a non-prefered numbered, which was the 1800 number. Any other number it was okay, and you were charged a flat fee/rate for unlimited access. Therefore, that section is wrong.

I remember I liked the dungeon game the best. It was first person and I could party up and explorer dungeons with other players. --71.103.86.249 (talk) 16:17, 12 December 2007 (UTC)

I designed "The Ruins of Cawdor" for TSN (when I started on it) and INN (as it was named when the dungeon game shipped). I worked for TSN/INN/WorldPlay as the Bridge/RPG designer/programmer from April 1993 until November 1997 (when the first layoff hit) and my wife (Cynthia Turner, not mentioned below) was a systems programmer for TSN from 11/91 until the big layoffs in 2/1998. Bob Heitman was her boss for about a week before leaving. Gary Butts was her boss for most of that time, and Matthew George was in charge of the systems programmers from 1993 until the end. Stuart Moulder was my producer until he left for Microsoft in 1994 or so.

I'm 99% sure that when ATT owned us and we broke even our pricing was $12.95/month flat rate; I have an old copy of "Imaginings" (our newsletter; I named it) with a preview interview with me about Cawdor and $12.95 is the price, but I don't expect to be home until March and won't be able to verify it until then. Premium pricing only applied if you had to call the 800 number to get online. Then it went to $2/hour flat rate, and we lost a bunch of users.

RFAronson (talk) 22:41, 7 January 2009 (UTC) Richard Aronson, aka INNDinky

Manual
Does anyone know where I can find a copy of the "Manual" that is cited throughout this page? If someone can point me in the right direction (maybe a link on the article page?), that would be great! Thanks.

Protocol
I removed the "Protocol" section of this page. It described a very small aspect of the network in fine detail, without any explanation of what this had to do with anything; it's irrelevant without a more general description of the system behind the network. It really didn't fit with this article. I'll copy the removed section below for future reference. - Brian Kendig 15:26, 25 Oct 2004 (UTC)

 * The protocol was a simple stop-and-wait protocol with explicit acknowledgment of packets. Packets had a start marker, a sequence number, a 16-bit CRC, the data, and a stop marker. If the start or stop marker occurred within the data, it had to be escaped. All good packets received in the proper order were acknowledged. Any packet out of sequence cause a NAK for the missing packets that came before it. Any packet with a bad CRC also got a NAK. If a NAK was received, or an ACK did not occur within a reasonable amount of time, the packet was retransmitted.

 * We later moved to a sliding window version of the same protocol to cut down on the number of ACKs we had to send. Didn't change the packet format, but it did cut back on retransmissions.

The "protocol" section had appeared on the page again, so I removed it. I agree with Brian Kendig; the information is extraneous and not neccesary for an encyclopedia entry. FarFromHomeFish 09:33, 23 June 2006 (UTC)

Continuing clean-up of article
The article is confusingly written, constantly referring to a manual which most people won't have access to. An effort should be made to revamp this article in its entirety, adding actual information, as opposed to simple lists of the games one could play. I've rewritten the opening section, added a sidebar, and started a 'history' section. Let's tidy up this article; if the quality is high enough, this page may be a canidate for a featured article in the future. --FarFromHomeFish 09:37, 23 June 2006 (UTC)

Remove link to INN newsgroup?
The newsgroup for INN (located at alt.online-service.imagination (on Google)) is only spam these days. While it once might have had some interesting material on it, it now has nothing to add to any discussion save those about 'free cash' and 'bigger boobs'. Unless there's any dissent, I'll go ahead and remove the link on 06/30/06. --FarFromHomeFish 14:16, 27 June 2006 (UTC)

Additional fees & restrictions
I vaguely remember that, while the clubhouse worked ont he regular subscription plan, sierraworld and Larryland either required additional costs or separate subscriptions. I also believe that Larryland was restricted to 18+. Since I was young at the time that I was a user, and it's been so long, I don't remember, but if anyone can verify this, it might be worth adding.

Risqué?
So there were parts of the network which were removed because of their content? Which parts would that be? It's not explained enough, I think.--164.77.106.168 19:38, 12 November 2006 (UTC)

More trivia...
What, you mean 'LarryLand'? I think a lot of people did go a little far by today's 'netiquette' standards, but heck, the 'World Wide Web' as an open platform was just a twinkle in Al Gore's eyes....

Anyhoo, if I remember right, TSN worked on SprintNet, it was 'Large Model SCI', and the servers ran in 32 bit extended mode DOS. Compiled with Watcom C, and its horrid 'debugger'.

There was a big party when we finally made enough money to pay the 'phone bill'. You gotta remember, in those days, this ate bandwidth, and you PAID DEARLY FOR IT. Especially to have it imported all the way up the mountain.

The TSN games were all peer-to-peer. The server had minimal logic to make 'groups' and rebroadcast things from one node to the others in the group, and that was more or less the basis for everything but the bulletin boards and email.

Initially, there was no security at all, but people began reverse-engineering things and causing problems, not least of which was the 'debug' flag, which (once found) would allow you to enable all the debug things, like setting the die rolls in Backgammon.

Ken Williams called it a 'Pit I threw money into', but I may be mangling that quote. He sold it to AT&T, and he personally made a ton of money off it, so mission accomplished from his perspective.

It only made money as an 'investment', never made any money on its own.

Heedless of the red ink, AT&T poured money into it like, well, some sort of big, leaky ocean.

They split 'ImagiNation' into two parts. One in Burlingame, CA, the original part in Oakhurst, CA. It cost diddly/squat to maintain office space and pay people in Oakhurst, but they wanted to operate in the Bay Area, where the money could shoot out AT&T like a bad Mexican meal. They began work on Rusty Dawe's 3D social 'Cyberpark'.

Eventually, AT&T discovered it was indeed a hole to throw money into, and sold it to AOL.

AOL wanted to run an online gaming service, so they renamed it 'WorldPlay'.

They had us hack the server and front-end for Cyberpark, stripping the 3D engine out and making a sort-of TSN-like thing under Windows in C/C++.

Then they pulled the plug on the old DOS/TSN games requiring an AOL login to play. There were tears.

We began pouring limitless time and effort into maintaining and extending the C++ code. We spent a lot of time 'testing' third party games that didn't work well.

Eventually, some of those 'third parties' sued AOL, claiming they would be competing with them by making games themselves through WorldPlay, and have an unfair advantage.

AOL eventually killed Worldplay. It was still playable, but you had to know the exact path to it. It wasn't on the top-level menus anywhere to be found.

Some of the remaining people spawned off to a deal with EA to work on some sort of MMORPG. EA eventually killed that, too.

1990 or so to 1993 Jeff Stephenson, Bob Heitman, Dave Slayback, others I never encountered.

Jeff Stephenson left SOL, Bob Heitman became the head of TSN when it was spawned of from Sierra On-Line.

Programmers: James Spellman, Dave Mace, Steve Nichols, Dave Eaton, Conan Brink, Dave Brooks, Steve Luzietti, Craig Allen

Artists: Eric Apel, Dianna Wilson

Then when AT&T more or less took over, there were too many names to remember. I'm bad with names, anyway.

Fair use rationale for Image:FAUX INN champ.gif
Image:FAUX INN champ.gif is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 07:28, 1 October 2007 (UTC)

Current Redirection to Sierra Entertainment | 1990s
I feel like this redirecting to the 1990s Section of Sierra Entertainment's Wikipedia Article isn't right. INN was a vital part of Sierra On-Line's presence during the 1990s, and giving it a direction to something where only a small amount of information relates to the topic is a bit of an injustice. Christhecoolboy (talk) 05:29, 6 January 2017 (UTC)

At least it is very confusing because it is hard to find anything related to ImagiNation Network by following the redirection. Looking at [] was more helpful for me. --MasterLee (talk) 09:43, 29 August 2023 (UTC)

title: Talk:ImagiNation Network


text:
Talk:Deep Throat (film)

Appearance on Cannes Film Festival
I removed the following statement:
 * The movie was featured at the Cannes Film Festival in 1973.

The only confirmation I can find is ; nobody else, not even the Cannes site mention it. The very comprehensive mentions several other 70s porn movies that were shown in Cannes, but not Deep Throat. AxelBoldt 18:20, 1 Jun 2005 (UTC)

soundtrack
perhaps it should have its own page ReverendG 21:03, 9 July 2006 (UTC)

Watergate informant nickname
Bob Woodward did not dub the informant Deep Throat: "Dubbed "Deep Throat" by managing editor Howard Simons after a popular porn film at the time..." Jokestress 01:59, 2 Jun 2005 (UTC)

Previous Hardcore Porn
I removed the line:

 * "Two lesser known hardcore porn movies had been released previously in the US: Mona in 1970 and School Girl in 1971."

because the connection to DT is lost on me. Surely it's not the third ever American porn film? RMoloney 05:10, 21 Jun 2005 (UTC)

 * Deep Throat was the third porn film to have a general US theatrical release versus distribution only in adult theatres. Jokestress 2 July 2005 01:35 (UTC)

Deep thought vs deep throat?
Where did the idea that "Deep thought" supercomputer in "Hitchhiker's Guide to the Galaxy" was named after "Deep throat" came from? It seems unlikely to me... - Blueshade 15:58, 27 September 2005 (UTC)

 * I agree, I'd like to see a source on this. I've taken the line out for now. -- Chupon 21:57, 4 December 2005 (UTC)

What do you think? AxelBoldt 00:29, 5 December 2005 (UTC)
 * Well, I don't think it's that unlikely that Adams was playing with words here, like he often was. I tried to google around, and found only two citeable references: an article in the German newspaper Frankfurter Rundschau ("der Supercomputer heißt "Deep Thought" - in Anspielung auf den Porno-Hit "Deep Throat" - "the super computer is called "Deep Thought", an allusion to the porn hit "Deep Throat") and the book "The Globe - Science of Discworld II" . Then there's one science fiction site  and a list of blog entries, usenet articles and forum posts, all without any authority:    . Perhaps we should soften the passage a bit, maybe like this: 'it has repeatedly been conjectured that "Deep Thought" is a satirical allusion to "Deep Throat"'.

 * For what it's worth Don't Panic by Neil Gaiman quotes Adams as saying wrt Deep Thought "The name is a very obvious joke. —Preceding unsigned comment added by Daibhid C (talk • contribs) at 23:23, 23 January 2006 (UTC)

Movie ticket
Inside Deep Throat quotes 6 dollars a ticket in Florida (from memory). -- Error 22:50, 3 October 2005 (UTC)

Bruises
I moved the following statement here:
 * "Bruises are clearly visible on Lovelace's body throughout the film."

Can anybody who has seen the movie independently confirm this, or do we have a reference? Thanks, AxelBoldt 16:52, 4 March 2006 (UTC)
 * I have seen the movie, but I don't think our opinions qualify as evidence. We should cite some reputable third party making this observation, or leave it out. Nandesuka 22:12, 4 March 2006 (UTC)
 * The claim is made in the Deep Throat documentary; I'll add it back. AxelBoldt 15:06, 8 September 2006 (UTC)
 * Regardless of claims, could someone who has seen the whole movie inform us: are bruises visible on Linda during the film, or not? F W Nietzsche (talk) 18:03, 20 December 2008 (UTC)
 * I realize I'm hopping into a three-and-a-half year old discussion but since no one answered, I will. I have seen the film probably a dozen times in various settings, including to write an in-depth article about the film, and bruises are VERY clearly visible on Ms. Lovelace's legs. This is particularly obvious when Lovelace and Dolly Sharp are sitting outside (by a pool, I believe) and discussing sex. HillbillyProfane (talk) 16:20, 8 March 2012 (UTC)

That is the right scene. Her bruises are very visible she has to big black bruises on the leg that is facing the camera. She is by the pool with her co star Dolly Sharp and in that scene the bruises are extremely visible. — Preceding unsigned comment added by 99.224.163.26 (talk) 05:32, 13 August 2013 (UTC)

Formats of Home Release
Do you think its worth noting the formats the the movie has been released in since its one of the most re-released pornography? I would think noting at least the original formats maybe worthy of notation. - 68.81.139.149 23:42, 23 October 2007 (UTC)
 * I was wondering about this: "In 2006, a censored edition of the film was released on DVD for fans of pop culture and those wishing to own a legitimate copy of the infamous movie." There's not a legitimate uncensored edition of the film on DVD?  It seems to me there is. Шизомби (talk) 04:56, 10 February 2009 (UTC)

The Soundtrack's artists
Not all artists are unknown; Leon Ware talks about it in the Red Bull Music Academy interviews linked on his page, about how he did "Blowing Bubbles" in the studio, and one day someone told him it was in the movie. Not sure how to include this in an encyclopaedic manner though. Johnbiggs 06:50, 6 November 2007 (UTC)

Roger Ebert citation
Here's a link to the requested citation. I'm a newbie when it comes to editing. When I tried to add it to the article the numbering seemed off. So I'll leave it to someone else.

Tips on how to add refs would be greatly appreciated though. Thanks.Reelm (talk) 06:03, 7 January 2008 (UTC)

 * Thanks for showing us where the link is! I just added it to the article. (Sorry it took so long for someone to do this, but I just now saw your comment.) You might want to see WP:IC and WP:REF. Hope this helps! Wakedream (talk) 17:46, 16 February 2008 (UTC)
 * You really might want to see Citation_templates which I think is what you're looking for. :-) Wakedream (talk) 17:59, 16 February 2008 (UTC)

Deep Throat II vs the "other" Deep Throat II Clarification
I added some information and moved existing information for clarity regarding the first two sequels, both titled "Deep Throat II." In the section about the 1974 film, the following appeared: "Deep Throat 2 won the 1988 AVN award for 'Best Couples Sex Scene - Film'" which is confusing the two films. The 1987 "Deep Throat II" won that award, not the 1974 film, so I moved that sentence further down to the discussion of the "unofficial" sequels. I hope that made sense! It's not easy when two films have the exact same name, even if they were made 15 years apart! --HillbillyProfane (talk) 17:03, 8 September 2009 (UTC)

Rating
While there is mention that the sequel was rated R (MPAA), there is absolutely no mention that I can find in the article of the original film's rating. Was it rated X? — Loadmaster (talk) 03:36, 25 July 2010 (UTC)

Crazy revenue claim
There is data, there is strange data, and there is crazy data. A 600 million $ revenue is just crazy and deserves no quotation at all. Look, I checked out the list of biggest grossing films from that year and, guess what? "The Godfather" was first, "Deep Throat" was sixth... and even "The Godfather" was very far from reaching a 600 million $ revenue. Sorry, didn't keep that reference, but I am pretty sure anybody will be able to find it without much effort.-Ignacio Agulló — Preceding unsigned comment added by 83.165.241.70 (talk) 03:38, 20 June 2012 (UTC)

www.lindalovelace.org
Does that link really belong? —Tamfang (talk) 08:44, 16 October 2012 (UTC)

External links modified
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John C. Holmes
No mention of co-star John C. Holmes? — Preceding unsigned comment added by 66.19.201.160 (talk) 03:05, 17 August 2016 (UTC)

 * @66.19.201.160 John C. Holmes does not appear in Deep Throat. The male star. is Harry Reems. Legnakelly (talk) 01:02, 14 July 2022 (UTC)

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charlton heston
i'm surprised to not see heston's name in the list of celebs who went to see it & either talked or wrote about it afterward, as he did in his 'an actor's life' ('78); his name's Got to be added to that list! 63.142.146.194 (talk) 06:43, 9 January 2018 (UTC)

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

title: Talk:Deep Throat (film)


text:
Advanced HeroQuest

Advanced HeroQuest is a board game published by Games Workshop in 1989, a sequel to HeroQuest.

Description
The original HeroQuest was an adventure board game created in 1989 by Milton Bradley in conjunction with the British company Games Workshop. Later the same year, Games Workshop released Advanced HeroQuest, a similar but more complex game. Changes from HeroQuest include more complex and RPG-like rules, a modular board and the use of henchmen. The included quests feature the heroes entering a Skaven-infested dungeon in order to retrieve a magical artifact. While the only monsters included in the miniatures set are the rat men known as Skaven, statistics for all the monsters that appear in the HeroQuest game are given, and it is possible to meet some or all of them via the random generation encounter tables.

Contents
The boxed set includes:
 * 64-page rule book that includes four introductory scenarios
 * 42 plastic 25 mm miniatures and doors
 * 78 counters and interlocking room and corridor sections that are combined to produce modular maps

Gameplay
The game uses 12-sided dice for skill and combat resolution. Both heroes and monsters are defined by Weapon Skill, Bow Skill, Strength, Toughness, Wounds, Speed, Intelligence, and Bravery.

Combat is resolved in melee by rolling a target figure that is determined by the difference between the target's and player's Weapon Skills; in ranged combat, the target number is determined by how far away the target is versus the character's Bow Skill. In both cases, if the target number is achieved, the attacker rolls a number of dice determined by Strength and what weapon was being used. The number of dice that exceed the opponent's Toughness becomes the number of Wounds inflicted.

Expansion
An expansion to Advanced HeroQuest called Terror In The Dark was released in 1991, adding new monsters, treasures and spells. The included quest featured the heroes being pitted against the Lichemaster, one of the adversaries from the original HeroQuest.

Reception
In the January 1990 edition of Games International (Issue 12), Philip A. Murphy's original impression was that this was exactly the same game as the original HeroQuest, albeit produced by Games Workshop rather than Milton-Bradley. Nevertheless he admired the production values, calling all the components "a true delight and all other producers [...] could learn a lesson from GW's attention to quality components." However, Murphy did not like "the constant references, by word and image, to Warhammer this, Warhammer that, Citadel miniatures, Citadel paints, future supplements and White Dwarf magazine." While he felt that the original game by Milton-Bradley "had been rushed out of production [...] and could have been much better with more playtesting", Murphy felt that Advanced HeroQuest had the opposite problem, calling it "overproduced and a tad too complex." He concluded by giving the game an average rating of 3 out of 5, saying "it should be magnificent, and indeed at times it is. But just as often, it's a great disappointment."

The German website Spielphase gave the game a rating of 5 out of 6, saying, "You get a lot of material for your money. [...] Even if I'm not a big fan of role-playing games or thematically related board games, I have to acknowledge that a reality is represented quite well by tables and a varied game is possible over a long period of time."

title: Advanced HeroQuest


text: Category:Oswego County, New York

title: Category:Oswego County, New York


text:
Uttoxeter Canal

The Uttoxeter Canal was a thirteen-mile extension of the Caldon Canal running from Froghall as far as Uttoxeter in Staffordshire, England. It was authorised in 1797, but did not open until 1811. With the exception of the first lock and basin at Froghall, it closed in 1849, in order that the Churnet Valley line of the North Staffordshire Railway could be constructed along its length. The railway has since been dismantled and there are plans to reinstate the canal.

History
The Uttoxeter Canal was promoted by the Trent and Mersey Canal Company and authorised by an Act of Parliament in 1797. This was a political move, designed to prevent a rival scheme for a canal to Uttoxeter. The planned Commercial Canal was intended to link the Chester Canal at Nantwich to the Ashby Canal at Moira, passing through Stoke-on-Trent and Uttoxeter, and would have had a serious impact on the profitability of the Trent and Mersey Company if it had been built.

Powers to alter the proposed route at Alton were included in an act of Parliament obtained in 1802, but because the new canal was not expected to be profitable, construction was delayed. Ten years after the Act was passed, work began under the direction of the canal engineer John Rennie, with the 13 mi canal opening on 3 September 1811. It is sometimes referred to as a branch of the Caldon Canal. 19 locks were required to drop the level of the canal as it passed down the valley of the River Churnet.

Froghall Basin was the transshipment point for limestone brought from Caldon Low quarries, a few miles to the east. The limestone was carried along a plate tramway, one of the first to use iron rails, which was built in 1758. The tramway was rebuilt on a new alignment in 1785, and completely rebuilt in 1800. In 1849, it was replaced by a cable railway. Three locomotives worked the tracks at Froghall Basin, named Toad, Frog and Bobs. The quarries ceased operation in 1920.

There was a proposal to construct a branch to Ashbourne, and another in 1839 to extend the canal along the Dove Valley to link up with the Trent and Mersey Canal, but no details of the precise routes have survived. The canal was not a financial success, and the Trent and Mersey Company made plans to close it. However, the canal company was taken over by the North Staffordshire Railway, and with the exception of the first lock and the basin at Froghall, which remained in use until about 1930, the canal was closed by the railway company on 15 January 1849. A large part of it was subsequently filled in, and used for the route of the Churnet Valley railway line (which incidentally, although it is now dismantled, had the first automatic, train-operated level-crossing in the UK, at Spath, just outside Uttoxeter.)

A few bridges from the Uttoxeter Canal still exist, with the occasional milepost visible, including two which have been relocated to the bowling green in Denstone village. Very little can be seen of the canal in Uttoxeter, but there is still evidence it existed, as there is an area called "The Wharf".

Restoration
The Caldon Canal Society was formed in 1961, and worked to reopen the Caldon Canal to Froghall. This was achieved in 1974, and Froghall Wharf remained the terminus for some 25 years. However, they started to think about restoring the first lock on the Uttoxeter Canal, and the basin below it, in 2000. This became known as "Restoration Froghall" in early 2003, and included plans for better facilities at the terminus. The scheme was costed at £800,000, and received a grant from the North-East Staffordshire Rural Regeneration Funds. At the end of the year, a formal partnership between British Waterways and the newly-renamed Caldon and Uttoxeter Canals Trust was announced, with the stated intention of completing the project by early 2005. It took a little longer than intended, but the lock and basin were formally reopened in July 2005. The Caldon and Uttoxeter Canals Trust then turned their attention to the feasibility of restoring the canal from Froghall to Uttoxeter. The situation was complicated by the fact that the revived Churnet Valley Railway terminated at Froghall, and they were originally going to reopen the railway to Oakamoor, but since 2018 they have been engaged in extending their line at the opposite end towards Leek. There were also threats at the southern end, when plans for a bypass which would be built along the line of the canal from Denstone to Alton Towers were announced. The scheme would have cost £12 million, and be largely funded by the theme park. The trust campaigned against it, using the provisions of PPG13, a government guideline that states that new road schemes should not hinder canal restoration schemes, and the new management of Alton Towers, who were in favour of canal restoration, argued that the scheme was unnecessary, as congestion only occurred during the six weeks of the summer school holidays.

To the south of Denstone, the original route is blocked by the JCB factory at Rocester, which has been built over the locations of Cottons and Taylors locks. Staffordshire County Council and the trust jointly commissioned a feasibility report in 2009, which was produced by the engineering consultancy Halcrow Group, and examined whether there was a possible route to the south of Denstone, terminating at the Uttoxeter gravel pits, which were nearly worked out. After discarding the original route with small diversions, they identified two possible routes which would be relatively easy to construct, both passing to the east of the JCB site.

During the 2010s, the trust concentrated most of their effort on the 1.5 mi from Alton to Crumpwood Weir, most of which is owned by the Alton Towers theme park. Bridge 70 was the only original bridge still remaining on the canal, but its ownership could not be established. Staffordshire Moorlands District Council issued a compulsory purchase order against it, and having acquired it, sold it to the trust for £2. The bridge had been restored by September 2016, and some 330 yd of the adjacent towpath was repaired and resurfaced. The Waterway Recovery Group have visited the canal several times, and have cleared most of the trees on this section, including a huge sycamore whose roots were damaging Crumpwood Weir. They also discovered that Carringtons Lock, immediately above the weir, was still largely intact, although buried, and found a wharf originally built by Lord Shrewsbury in the early 1800s to enable construction materials for Alton Towers House to be unloaded. Divers have investigated Crumpwood Weir, and although it is heavily silted at one end, it is in good condition. It was built by John Rennie so that the canal could cross the river on the level, rather than needing an aqueduct. The weir itself, which is grade II listed, is around 33 yd long, with abutments at both ends. Water drops 5 ft vertically, and then down an inclined slope.

Just to the south of the weir, the lock keepers cottage, which had been derelict for many years, was sold in August 2018 and was undergoing renovation in early 2019. There was a water pumping station to the north of the weir, which was no longer in use, and the Environment Agency announced their intention to construct a fish ladder there in 2019, to enable trout and salmon to migrate up the river more easily. The pumping station contains water turbines, which were used to pump drinking water to the local community, and the Larinier fish pass consists of a resting pool within the pump house, with the fish using the inlet and outlet pipes from the turbines to reach it. It is expected that it will be possible to operate the turbines from time to time to demonstrate how the heritage asset worked. As part of the work, one of the turbines was removed, so that it can be displayed, and the project was carried out by the Environment Agency, helped by JCB who loaned heavy equipment, and the Staffordshire Wildlife Trust. The fish pass enables fish to negotiate the 9 ft difference in height, and will enable salmon, trout, grayling and chub to colonise 4.3 mi of river above the weir. The structure was operational by September 2019.

title: Uttoxeter Canal


text:
Talk:Machine vision

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 6 September 2019 and 12 December 2019. Further details are available on the course page. Student editor(s): Tt1887. Peer reviewers: Dragonroll.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 03:04, 17 January 2022 (UTC)

New thought that might help this bruised-and-abused article
This article is about both a term and a widely-varying set of endeavors which often go by that term It is the term most commonly used to try to assemble and refer to a  set of endeavors in that field, although other terms are often used for subsets, supersets and partially overlapping sets of those endeavors.

So, the article needs to both describe the meaning of the term "machine vision", and then provide coverage of the field defined by that term. On the latter the article keeps getting nuked to the point where, 13 years after it's inception, this article about a large and important field looks like little more than a stub. While this may sometimes be an issue with the nukers, it also may also be vulnerable due to using too much etymology type wording in the coverage of the field, and generally organizing the whole article along entomology lines.

For example, let's say there's a common term "Native American History" and an article titled "Native American history" (which there isn't by that name) which opens with a definition of that term. As with machine vision, other groupings and titles may apply to that general topical area. Then, someone builds a section on the Puebloan Culture of the 13th century. That section should probably not be explicitly saying / repeating "Native American history includes the Pueblo Culture of the 13th century". Conversely, somebody should not be nuking that whole section because the sources don't explicitly say that Native American History includes Pueblo Culture of the 13th century. I think that we've had both of these issues here. I plan to try to work on the wording and organizational side.  North8000  (talk) 15:50, 26 February 2017 (UTC)

 * The first step is to develop the etymology & definition section. I started but it needs more work. But I think that the material is well-contained within a couple of the cited sources. North8000  (talk) 16:25, 26 February 2017 (UTC)
 * Thanks for your work; i've been watching. Jytdog (talk) 16:01, 27 March 2017 (UTC)
 * Thanks!  North8000  (talk) 16:15, 27 March 2017 (UTC)
 * Undid archiving of this section North8000 (talk) 13:46, 12 January 2018 (UTC)
 * Your work here is certainly appreciated, North8000! I'm glad you stuck with the article and made it through the reversion wars. I hope one day to get back to editing the article. For example, the article could benefit from referencing the history of the industry written up in Nello Zuech's book Understanding and Applying Machine Vision. Rethunk (talk) 00:54, 18 May 2018 (UTC)
 * Thanks! North8000 (talk) 21:49, 19 May 2018 (UTC)
 * I really appreciated your effort and I think you really did great job. I saw you used the book written by Steger, Carsten, Markus Ulrich; Christian Wiedemann. Are those people developed Halcon? I think this is a really powerful machine vision software.Tt1887 (talk) 01:19, 20 September 2019 (UTC)
 * Thanks. I know the book better than the authors. I don't know the answer but will go look at the book to see if it has "about the author" info.  I like the book because it has great mathematical depth and rigorousness in each area yet is broad enough to cover the field. Halcon is known as having a very powerful toolbox and less so of a development environment.North8000 (talk) 11:56, 20 September 2019 (UTC)
 * Scratch what I said. I was thinking of the "Machine Vision Theory Algorithms practicalities book by Davies which I have. Sincerely, North8000 (talk) 21:05, 30 November 2019 (UTC)

Revised list
Here's a first pass at a more generalized list.

 * Automotive component inspection
 * Inspection of cast, molded, machined and forged parts
 * Train and vehicle examiner systems
 * Wood product inspection
 * Inspection of sub-assemblies
 * Medical device inspection
 * Labeling & Packaging Inspection
 * Reading of Codes & Characters
 * PCB & Semiconductor Inspection including Ball Grid Arrays (BGAs)
 * Surface Inspection
 * Automated space monitoring
 * Robot and motion controller guidance

This might present a "sourcing that the sky is blue" quandary, but perhaps we can find a source for a similar list.

 North8000  (talk) 15:48, 11 February 2017 (UTC)

 * Tweaked my list North8000 (talk) 14:55, 7 January 2018 (UTC)

title: Talk:Machine vision


text:
Kingdom Hearts: Chain of Memories

Kingdom Hearts: Chain of Memories (キングダム ハーツ チェイン オブ メモリーズ) is an action role-playing video game co-developed by Square Enix and Jupiter, and published by Square Enix in collaboration with Disney Interactive in 2004 for the Game Boy Advance. The game serves as an intermediary between the two larger-scale PlayStation2 games in the Kingdom Hearts series. It was one of the first GBA games to incorporate full motion video (FMV).

Kingdom Hearts: Chain of Memories is the second game in the Kingdom Hearts series. It is a direct sequel to Kingdom Hearts, and its ending is set about a year before Kingdom Hearts II. The game follows Sora and friends as they explore the mysterious Castle Oblivion while battling the sinister Organization XIII, a group of antagonists new to the series. The game introduces new characters and plotlines that further expand the Kingdom Hearts universe and set up the premise of Kingdom Hearts II. The game features a new card-based battle system, in a departure from its predecessor's real time combat system.

Though not as successful as the other Kingdom Hearts games, it received positive reviews and sold well. It was praised for its story, graphics, and FMVs, but the card-based battle system was criticized. When it debuted in Japan, it sold over 100,000 units in 48 hours. The game was remade for the PlayStation2 as Kingdom Hearts Re:Chain of Memories, released in Japan as a second disc packaged with Kingdom Hearts II Final Mix in March 2007. The remake was later released in North America on December 2, 2008, and was remastered in HD and included in the Kingdom Hearts HD 1.5 Remix collection released in 2013 for the PS3 and later for PS4, Xbox One, and PC.

Gameplay
Kingdom Hearts: Chain of Memories is a combination between a role-playing video game and collectible card game. The main role-playing aspect is an experience point system that is used to increase the character's maximum health or Card Points or to learn new skills. The cards are utilized in the progression of the story as well as in combat. The game features both a field map and battle screen. The field map is an isometric area where the player can traverse between rooms. Enemies inhabit the field map and track the player to engage in combat, which can be initiated through contact between the player and an enemy. Once combat has been engaged, the game switches to the battle screen, which utilizes a card-based battle system.

A unique aspect to this game is "room synthesis": to advance through the game, the player must utilize Map cards obtained after winning battles to synthesize rooms. The properties of each room―including quality of items and strength of enemies―are determined by the Map cards the player chooses. Each card has a specific effect: red cards affect the number and type of enemies; green cards affect the power of the player's deck; and blue cards affect the properties of the room itself, such as allowing treasure chests or a save point to appear.

The game features three modes of gameplay. The first two are story modes that feature either Sora or Riku, and the third is a two player battle mode. Initially, only Sora's story mode is available; once completed, "Reverse/Rebirth" mode becomes available. Reverse/Rebirth allows the player to play a second story mode featuring Riku and a link mode where players can battle each other via a Game Link Cable.

Combat
Combat uses a card-based battle system executed in real time. The player can jump and maneuver around the battle screen as they would on the field map, but all physical attacks, magic, items and summons are activated by playing cards. Cards are ranked from zero to nine, and are used for making attack combos or breaking enemy cards. With the exception of zero-ranked cards, which are more expensive in terms of Card Points (CP) compared to other cards of the same type and have other ranks, more CP is required to place higher-ranked cards in the player's deck. Card Points, which are increased through level up, limit the number of cards the player can use in a deck. Cards with rank "zero" can break any opposing card or combo if played after the opposing card or combo, but can be broken by any card or combo if played after the zero card is played. Breaking an opposing card will cancel that attack and stun the loser of a card break for a short time. Special enemy cards can be obtained by defeating enemies and bosses, and are used to give the player a temporary ability, ranging from enhanced offensive and defensive capabilities to modifying the attributes of certain cards.

Combining cards in sets of three will create combo attacks. These attacks are usually more difficult to break because the rank of the combo is the sum of the ranks of the three cards in the combo. Certain card combinations will create a "sleight", a special combination that will create a powerful physical attack, magical spell, or summon attack. When the player runs out of cards, the deck must be reloaded. Additionally, using a card combination will cause the first card in the combo to become unusable until the end of combat.

Sora's and Riku's stories differ gameplay-wise in several ways. In Sora's story, Sora obtains cards by defeating enemies or through Moogle Shops. In some cases, Sora must earn the specific card through a plot event before it becomes available. Sora can create and store three different decks in the pause menu. Unlike Sora, Riku has a closed deck that cannot be customized, and the cards in his deck change depending on the world he is in. Riku is limited to mainly physical attacks, enemy cards, and Mickey Mouse ally cards. He has the ability to activate "dark mode" and unlock his sleight attacks if he accumulates enough "dark points". Dark points are earned by breaking enemy cards and combos, and the difference between Riku's card or combo and the enemy's card or combo is how many dark points he will accumulate for that card break.

Setting
Kingdom Hearts: Chain of Memories takes place immediately after the events of the first game. It is set in Castle Oblivion, a mysterious castle kept by Lord Marluxia. Sora and his teammates are told that the castle causes visitors to lose their memories upon entering. The lobby and areas between floors are white with flower-themed decorations, but each floor can be transformed into a different world from the first Kingdom Hearts game using "world cards" created from Sora's memories. Like before, many of the worlds of Disney and Square Enix reappear.

Unlike the previous game, the worlds are created from Sora's memories. As such, many of the events experienced in Kingdom Hearts are relived in this game, Sora encounters memory-based versions of Disney characters that he has met before, except for Deep Jungle in Tarzan. The individual plotlines differ from those in the original game and revolve around the theme of memory. Just as Kingdom Hearts had several worlds created specifically for it, Chain of Memories introduces Twilight Town as a world created from memories on "the other side of [Sora's] heart", in addition to the original worlds of Kingdom Hearts.

Characters
Sora returns as the game's protagonist. Like the first game, Chain of Memories features numerous characters from both the Final Fantasy series and the Disney animated features canon. Being a direct sequel, many of the characters from the first Kingdom Hearts reappear. As each world and the related characters are recreated from Sora's memories, they interact with Sora as if they had never met before. The game also introduces several new characters, several of which are members of the enigmatic Organization. Other new characters include Naminé, a young girl capable of manipulating memories, and DiZ, a mysterious man concealed by red robes and bandages. Riku appears as a playable character in the second story mode. After being sealed in the realm of darkness, he heads to the basement of Castle Oblivion, aided by King Mickey Mouse and DiZ.

Six members of the Organization serve as antagonists; four appear in Sora's story mode, and the other two in Riku's. The four Sora encounters are Marluxia, the lord of Castle Oblivion; Larxene, Marluxia's assistant; Axel, a double agent with hidden loyalty; and Vexen, Marluxia's unwilling collaborator. Riku battles Zexion and Lexaeus, Vexen's allies. Ansem also appears in Riku's story as an entity that attempts to control him. Many of the Disney villains return via memory-based recreations, like the rest of the Disney characters.

Story
As Sora, Donald, Goofy, and Jiminy Cricket are searching for Riku and King Mickey, a man dressed in a black, hooded coat appears and directs Sora towards a massive fortress called Castle Oblivion. Upon entering, he and his friends realize they have forgotten their abilities. The hooded man explains that as they go deeper into the castle, they will lose more memories, but will uncover new memories in the process. He creates a deck of cards made from Sora's and his friends' memories, and tells them that everything they encounter in this castle will be based on their memories.

Sora ascends the castle, and along the way faces off against other hooded figures who are part of a group called "the Organization". As Sora loses his memories, he gradually appears to remember a girl named Naminé as an old friend of his, and learns from Organization member Larxene that Naminé is being held prisoner in the castle. He also clashes with a replica of Riku created and controlled by another Organization member, Vexen, and is believed by both Sora and the replica himself to be the real Riku. Axel, an Organization double agent, kills Vexen for his "betrayal" to the Organization, but later releases Naminé and allows her to meet Sora in person. Sora discovers that Naminé has been manipulating his memories under the orders of Marluxia—the lord of Castle Oblivion and the man who lured Sora to Castle Oblivion—as part of his and Larxene's plan to overthrow the Organization. Sora climbs to the highest floor and defeats Larxene and Marluxia, after which Naminé puts Sora and his friends into pod-like machines to help them regain the memories they have lost. However, this process will cause them to forget the events that transpired in the castle. Before they are put to sleep, Sora and Naminé promise to meet again as real friends after he reawakens.

In Reverse/Rebirth, which occurs concurrently with the game's main story, Riku is transported from the realm of darkness to Castle Oblivion's deepest basement, and he fights figments of previous enemies to combat his inner darkness as he traverses the castle. Vexen fights Riku to obtain his data and creates his replica to counter Marluxia's plan. Ansem, still possessing Riku's body, tries to regain control of Riku, but Mickey's power keeps Ansem at bay. Along the way, Riku battles and defeats Lexaeus, a member of Vexen's circle, only to be dragged into the realm of darkness. However, he is saved by Mickey when Ansem nearly succeeds in taking Riku's body as his own. With Marluxia eliminated, another of Vexen's allies, Zexion, attempts to dispose of Riku by drowning him in light. Riku is saved by Naminé disguised as Kairi, who helps him to control his darkness, allowing him to defeat Zexion. Riku later meets DiZ, an enigmatic individual interested in him who sends him to find Naminé. Riku's replica, who has learned of his altered memories, seeks to justify his existence by killing Riku, only to be destroyed by him. Riku chooses to face Ansem upon learning from Naminé that Ansem lives in his heart, and defeats him after DiZ summons him for Riku to fight. Riku then sets out on a journey to utilize both his darkness and light, with Mickey as his companion.

Development
The idea for an intermediary title was developed after director Tetsuya Nomura and his team had already begun to develop ideas for the second Kingdom Hearts game, which he had intended to be set a year after the original. Originally titled Kingdom Hearts: Lost Memories, Nomura changed the name to match the overall outline of the story, while still reflecting the theme of memories. Chain of Memories was developed to bridge the gap between Kingdom Hearts and Kingdom Hearts II. Like most sequels, Kingdom Hearts II was planned to have the character start from the beginning, ability-wise. To explain the loss of abilities gained in the previous game, Nomura had the story revolve around Sora's memories getting corrupted and implemented the card battle system to symbolize Sora's various memories.

Nomura was hesitant about releasing a Kingdom Hearts title on the Game Boy Advance, feeling that the 3D graphics of the original game would not translate well into 2D. Nomura changed his position after hearing that children wanted to play Kingdom Hearts on the GBA. After exploring ideas for the gameplay, he felt that a 2D Kingdom Hearts game would be possible, and that it could still feel like and play like what gamers were used to in the original. Meanwhile, Nomura wanted to give the game a "lighter tone" than the PlayStation2 games.

Chain of Memories was announced along with Kingdom Hearts II at the Tokyo Game Show in September 2003. Initial details included the switch to 2D graphics, the use of cards to perform attacks, and that compressed movies would be utilized in some cut scenes. The cut scene animations were rendered using the graphical engine of the PlayStation2 iteration and then encoded for the Game Boy Advance by using a technology developed by Japanese company, AM3. To help market the game, Disney and Square Enix launched official Japanese websites. A playable demo was first made available to the public at the 2003 Jump Festa in Japan; this demo and subsequent demos highlighted the card-based combat system. Aside from information gathered from the opening sequences, most details regarding the story were kept secret until the release.

The card-based gameplay of Chain of Memories would later serve to inspire the gameplay of Jupiter's next game, The World Ends with You; originally, the team envisioned a similar card game-based system taking place on the lower screen of the Nintendo DS, but eventually this morphed to a battle system taking place on both screens, with a card game controlled on the upper screen.

Audio
Much of the music from the original Kingdom Hearts is present in Chain of Memories; the main vocal theme for the Japanese release is "Hikari" (光), while the English version of "Hikari", "Simple And Clean", is used in the Western releases. Additional and reworked tracks were created for its PlayStation2 rerelease, Kingdom Hearts Re:Chain of Memories. Since the music is reused from the original, a Chain of Memories soundtrack was never released. The new reworked tracks, however, are included on two CDs in the Kingdom Hearts Original Soundtrack Complete.

Due to the technological limitations of the Game Boy Advance cartridge size, voice acting was kept to a minimum. Though many characters from Kingdom Hearts were voiced by the cast from before, the Japanese version used the following voice actors: Keiji Fujiwara as Axel; Tatsuya Kando as Vexen, Marluxia, and Lexaeus; and Rieko Katayama as Larxene. A limited amount of voice acting was added only for the battle sequences. Voice clips from the first Kingdom Hearts were inserted into Chain of Memories. The English version is absent of dialogue; voices during Organization battles are replaced with simple grunts, laughter, and other battle cries.

Versions and merchandise
Like its predecessor, a great deal of merchandise was produced to help market the release of the game. Square Enix released two products to coincide with the release of the video game. The first was a limited edition Kingdom Hearts Game Boy Advance SP set released only in Japan. The set contained the game, a "Kingdom deep silver" GBA SP with the Kingdom Hearts logo, and a carrying strap. The second was a Kingdom Hearts trading card game produced by Tomy. The TCG featured starter decks, playing mats, and booster packs. Fantasy Flight Games later acquired the rights to market it to English-speaking countries. In 2007, a remake for the PlayStation 2, titled Kingdom Hearts Re:Chain of Memories was released along with Kingdom Hearts II Final Mix in a set, Kingdom Hearts II Final Mix+. A manga series ran in Monthly Shōnen Gangan in Japan, and was later released in the United States. It is accompanied by three novels—two set during Sora's storyline and the third during Reverse/Rebirth, Riku's story. Like with the Final Fantasy games and the first Kingdom Hearts game, Square released an Ultimania book on Kingdom Hearts: Chain of Memories following the release of the game. In North America, BradyGames released a strategy guide with a comprehensive walkthrough.

Re:Chain of Memories

Kingdom Hearts: Chain of Memories was remade for the PlayStation 2, titled Kingdom Hearts Re:Chain of Memories. It was developed by Square Enix's fifth Product Development Division, based in Osaka, and released as the second disc of Kingdom Hearts II Final Mix+ in Japan on March 29, 2007 and as a standalone title in North America on December 2, 2008. It has not been released in Europe or Australia for the PlayStation 2, but has seen a worldwide release as part of Kingdom Hearts HD 1.5 Remix. The remake includes polygonal 3D battles and worlds using the same graphics as Kingdom Hearts, as well as voice acting and an improved soundtrack. While the card-based battle system and room synthesis aspects of the gameplay stayed mostly the same, there were additions, such as the "Reaction Command" function from Kingdom Hearts II. Voice-acted scenes occur only in Castle Oblivion, as well as in the Destiny Islands and Twilight Town simulations. The remake also includes new cutscenes and battles that were not in the original game. IGN ranked it as the 92nd best PlayStation2 game. The staff felt that it stood out among other card-based RPGs.

Manga
Like the first Kingdom Hearts, Chain of Memories was adapted into a manga by Shiro Amano, following the same plot as the video game. It was serialized in Square's Monthly Shōnen Gangan in Japan, then released in two volumes in Japan and later in the United States by TOKYOPOP. The first volume was released in Japan on October 22, 2005. A year later, it was released in English on October 10, 2006, followed by the second volume on February 6, 2007.

The manga series has had moderate success. The first volume was ranked 112th on USA Today's "Top 150 best sellers" during the week of its release. IGN praised Amano's renditions of the characters and the humor added into scenes. They also commented the weak elements of the game lessened the manga's overall quality. The series was followed by a third manga series, Kingdom Hearts II. The Chain of Memories manga series was re-released in a boxed set in the United States on October 9, 2007.

HD 1.5 Remix
In September 2012, Square Enix announced Kingdom Hearts HD 1.5 Remix a compilation for the PlayStation3 to include both Kingdom Hearts Final Mix and Re:Chain of Memories in high definition and trophy support. Additionally, the collection includes HD cinematic scenes from Kingdom Hearts 358/2 Days. It was released in Japan on March 14, 2013 and in North America on September 10, 2013. Releases on September 12, 2013 for Australia and September 13, 2013 for Europe marked the first time Re:Chain of Memories was available in both of those territories. This version was later ported to the PlayStation4 as part of Kingdom Hearts HD 1.5 + 2.5 Remix, released in March 2017.

Reception
While the least successful in the series commercially, Chain of Memories received generally positive reviews and met with successful sales figures. In Japan, it sold 104,000 units in 48 hours, a record for a Game Boy Advance title at the time. Its positive debut sales placed it in the top spot of sales charts in Japan. In the first month of its North American release, it was ranked 1st on GameSpot ChartSpot for portable systems and 6th for all consoles. By February 2005, it had sold over one million copies in Japan and North America. Worldwide sales of the game reached 1.50 million copies by the end of 2006. In the United States alone, it sold 900,000 copies and earned $28 million by August 2006. During the period between January 2000 and August 2006, it was the 24th highest-selling game launched for the Game Boy Advance, Nintendo DS or PlayStation Portable in that country. By late 2009, Chain of Memories had sold over 1.55 million copies worldwide, with 200,000 in PAL regions, 410,000 in Japan, and 940,000 in North America.

The game received mostly positive reviews from critics. The card-based battle system received mixed reviews. GameSpot called it "unwieldy", while GameSpy called it "engaging" and Game Watch called it original. Reviews also cited that the card battle system was awkward and made it difficult to plan strategies. G4 commented that the gameplay was well suited for portable play and that it successfully combined card battles and random dungeons, "two much-maligned RPG" elements. Some critics found the Room Synthesis to be far too linear. The most frequent praise went towards the story. IGN called it an "engrossing storyline that actually changes up after the adventure comes to an end" and rated the presentation a 10 out of 10.

The quality of the graphics was well received, particularly the cut scenes. IGN cited them as "wonderfully produced FMV sequences". GameSpot stated that the movies were true to the art style of the original and were on par with GBA video paks. They also commented on the detailed and well animated game sprites. Game Watch described the event scenes as "high quality". Many critics stated that though the graphics were not as good as the PlayStation2 predecessor, they were very good for a GBA game. G4 complimented the graphics stating that Chain of Memories was "one of the best-looking GBA games out there."

During the 8th Annual Interactive Achievement Awards, the GBA version received a nomination for "Handheld Game of the Year".

title: Kingdom Hearts: Chain of Memories


text:
What the Victorians Did for Us

What the Victorians Did for Us is a 2001 BBC documentary series that examines the impact of the Victorian era on modern society. It concentrates primarily on the scientific and social advances of the era, which bore the Industrial Revolution and set the standards for polite society today.

Rule Makers
"In 1875, the Bulldog Club defined the perfect British Bulldog, in a booklet that was circulated to breeders everywhere. From dogs to engineering, from sports to space and time, the world was becoming obsessed by standards, and the rules that defined them. This was the world of the Victorians."
 * Victorians standardised the rules for association football, or soccer, based on a range of games already played, such as the Eton wall game.
 * Walter Clopton Wingfield invented the game of lawn tennis, which allowed young men and women to socialise together, and to get more exercise than by playing the sedate game of croquet.
 * Victorians set down rules for formal dining, and invented the fish knife. Mrs Beeton documented recipes and how to run a household.
 * Florence Nightingale recorded extensive details of wounded soldiers in the Crimean War, and used these statistics to demonstrate to a Royal Commission the effectiveness of simple hygiene in reducing unnecessary deaths.
 * In 1869, Dmitri Mendeleev formulated the periodic table of the chemical elements, including gaps where as-yet undiscovered elements would fit.
 * Joseph Whitworth devised a series of standards for engineering, and built a rifle with an accurately-rifled barrel.
 * Greenwich Observatory was used to define the official time for the whole country, and the zero line of longitude.

title: What the Victorians Did for Us


text:
Apocalypse: The Game of Nuclear Devastation

Apocalypse: The Game of Nuclear Devastation is a board game of nuclear war released by Games Workshop in 1980. It is based on The Warlord, a game designed and self-published by Mike Hayes in 1974.

Description
Apocalypse is a game of conquest for 2–4 players similar to Risk, albeit with nuclear weapons. The game map covers Western Europe. Players vie to conquer the entire map, the last one standing being declared the winner.

Setup
All city areas are distributed to the players at random. A player is chosen to go first. (The rules suggest this should be the most inexperienced player, since going first is advantageous. Reviewer John Lambshead suggested it was so advantageous to go first that players should roll dice every turn to decide this.)

Components
The game box contains:
 * Two-part mounted map of Western Europe
 * 140 blank counters in four colours
 * 140 radiation counters
 * plastic multipart nuclear missiles
 * rules sheet

Gameplay
A turn uses the following sequence: fire missiles, build armies, move, attack.

Build armies
During the "build armies" phase, each city can produce one new army unit, but two linked suburban areas are needed to produce an army. Unpopulated areas do not produce any armies. Built armies can be placed in any area that can be linked back to where they were built.

Movement
As with Risk, a stack of armies can only move from one area into an empty area, leaving one unit behind to occupy the initial area.

Combat
To resolve combat, the attacking player chooses a number between 1 and the total number of possible attacking units from one area (up to a maximum of six). The attacking player then turns a die to this number and conceals it under a cup. The defending player tries to guess the number under the cup. If the defender is correct, the attacker loses that number of units. If the defender guesses wrong, the defender loses an army from the area being attacked. If this results in an empty area, the attacker must move the number of units that had been indicated on the concealed die into the area.

Terrain has an effect on combat: a player attacking a mountain area may only use the numbers 1, 2 or 3. A player defending a sea area gets two guesses.

Fire missiles
Whenever a successful attack is made, the attacker gets a missile, which can be placed in any area linked to the one from which the attack was made. If there is already a rocket there, the second rocket may be added to the first to make a two-stage rocket. There is no limit to how large a rocket can be. The rocket's range is dependent on the number of stages, so a one-stage rocket can hit all adjacent areas, a two-stage rocket can hit any areas two away, and so on.

When a rocket hits an area, it destroys all armies in the area and renders it radioactive, making it impassable to all armies. In addition, armies in all the adjacent areas are also removed from the board, and any missiles in those areas go off. This may lead to a chain reaction as nuclear explosions detonate missiles in adjacent areas, which then detonate further missiles.

If there is a missile in an area that is successfully occupied, then the occupier is now the new owner of the missile.

Areas that are irradiated can be cleaned up as long as the reclaiming player takes no other actions that turn.

Victory conditions
Play continues until there is only one player left. If all armies are eliminated by a nuclear chain reaction, the game ends in a stalemate.

Publication history
In 1974, Mike Hayes, a student at University of Sheffield, self-published a game of nuclear war in Europe for 2–7 players packaged in a plain red box titled The Warlord. Hayes republished the game in 1978 in a blue box.

In 1980, Games Workshop acquired the rights from Hayes and revised the game, simplifying the rules, reducing the number of players to 4, removing hydrogen bombs, allowing irradiated areas to be cleaned up, and cutting the board map in half (eliminating Eastern Europe). This revised game was released as Apocalypse: The Game of Nuclear Devastation with cover art by Tony Roberts. (The cover art had been used three years previously on the cover of the Orbit/Futura paperback edition of Jerry Pournelle's science fiction novel The Mercenary.)

After Apocalypse went out of print, Mike Hayes reacquired the rights and republished his full original game, retitled Classic Warlord, in 2012.

Computer game
A computer game version, Apocalypse: The Game of Nuclear Devastation, was published by Red Shift under license from Games Workshop in 1983 for the ZX Spectrum and BBC Micro.

Reception
David Ladyman reviewed Apocalypse in The Space Gamer No. 39. Ladyman commented that "The graphics and component design are up to Games Workshop's usual high standard. The rules are short and clear. I would consider recommending Apocalypse if an equivalent game wasn't on the market at a cheaper price. Risk, as I said above, is very similar".

John Olsen reviewed Apocalypse for White Dwarf #26, giving it an overall rating of 9 out of 10, and stated that "Apocalypse is a superb game and I would award it a 10 unhesitatingly, except that many games take a long time to finish."

In Issue 33 of Phoenix, John Lambshead was impressed by the dramatic box cover art by Tony Roberts. He also gave "full marks to whoever wrote the rules. They are simple but comprehensive and written in the English language." He found the game didn't work well with 2 players, but thought it came into its own with 4 players. He concluded with a good recommendation, saying, "An attractive package for anyone wanting a multi-player game which is far from mindless but which has rules that can be explained in minutes."

Other reviews

 * Casus Belli (Issue 16 - Aug 1983)


text:
Category:Science fiction artists

This category contains science fiction illustrators

title: Category:Science fiction artists


text:
Talk:Ultimate Muscle

Untitled
Hey, http://en.wikipedia.org/w/index.php?title=Ultimate_Muscle&oldid=216382849 is much better than the article as it is now. Why not revert to it?

Season 4?!?
There ~IS~ No Season 4! What idiot has taken his hand to this page? Someone without a CLUE about the series, apparently!

Voice Info
I finished putting the English VOs where they belong, however, this wasn't present:

No profile for the characters:

/Wayne Grayson(US) - Mr. Dispenser, Gyro-man, Stinkbug. /Darren Dunstan(US) - Herr Essen, Jeager Supporter. /Ted Lewis(US) - King Kastle. /Veronica Taylor(US) - Frau Essen, Jeager Supporter.

No Actors' Credit - Apollo, Barbarian, Gorgeousman, Samuu, Canadian Boy, Specialman Jr, Ikemen Mcmadd, Master Pashango, Blocks, Sosumi, Curry Cook, Dorothy, Barrierfreeman(Jijoman).

-TheOrgg

Game Characters
There are some characters from the games only. We should list them in characters. SoundPound500000 November 2, 2006 3:48

Those characters are from the original Kinnikuman, and do not seem to have a place under "Ultimate Muscle" unless they have appeared in the UM Manga or UM Anime. TheOrgg

Evidence?
Why the link to the kinnikuman.com forum for evidence of americanization? If there's a thread that specifies that it was to americanize the anime, link to it specifically, not a general forum, please.

title: Talk:Ultimate Muscle


text:
Frances Ridley Havergal

Frances Ridley Havergal (14 December 1836 – 3 June 1879) was an English religious poet and hymnwriter. Take My Life and Let it Be and Thy Life for Me (also known as I Gave My Life for Thee) are two of her best known hymns. She also wrote hymn melodies, religious tracts, and works for children. She did not occupy, and did not claim for herself, a prominent place as a poet, but she carved out a niche for herself.

Early life and education
Frances Ridley Havergal was born into an Anglican family, at Astley in Worcestershire, 14 December 1836. Her father, William Henry Havergal (1793–1870), was a clergyman, writer, composer, and hymnwriter. Her brother, Henry East Havergal, was a priest in the Church of England and an organist.

When she was five, her father moved to the Rectory of St. Nicholas, Worcester. In August, 1850, she entered Mrs. Teed's school, who had a strong influence on her. In the following year she says, "I committed my soul to the Saviour, and earth and heaven seemed brighter from that moment." A short sojourn in Germany followed. In 1852/3, she studied in the Louisenschule, Düsseldorf, and at Oberkassel. Havergal's scholastic acquirements were extensive, embracing several modern languages, together with Greek and Hebrew.

On her return to England, she was confirmed in Worcester Cathedral, 17 July 1853.

Career
In 1860, she left Worcester upon her father resigning the Rectory of St. Nicholas, and resided at different periods in Leamington, and at Caswell Bay, Swansea, broken by visits to Switzerland, Scotland, and North Wales. It was during this time—1873—that she read J. T. Renford's little booklet All For Jesus, which "lifted her whole life into sunshine, of which all she had previously experienced was but as pale and passing April gleams, compared with the fullness of summer glory." She led a quiet life, not enjoying consistent good health. She supported the Church Missionary Society.

Havergal's hymns were frequently printed by J. & R. Parlane as leaflets, and by Caswall & Co. as ornamental cards. They were gathered together from time to time and published in her works as follows:— (1) Ministry of Song, 1869; (2) Twelve Sacred Songs for Little Singers, 1870; (3) Under the Surface, 1874; (4) Loyal Responses, 1878; (5) Life Mosaic, 1879; (6) Life Chords, 1880; and (7) Life Echoes, 1883.

About fifteen of the more important of Havergal's hymns, including “Golden harps are sounding,” “I gave my life for thee," “Jesus, Master, Whose I am,” “Lord, speak to me,” “O Master, at Thy feet,” “Take my life and let it be,” “Tell it out among the heathen," &c., are annotated under their respective first lines. The rest, which are in collections, number nearly fifty. These are noted here, together with dates and places of composition, from the Havergal manuscripts and the works in which they were published. Those which were printed in Parlane's Series of Leaflets are distinguished as (P., 1872, &c.) and those in Caswall's series (C., 1873, &c).

Most of these hymns are given in Snepp's Songs of Grace and Glory, and many of them are also in several other hymn-books, including Hymns Ancient and Modern, Hymns and Sacred Lyrics, Church Hymns, The Hymnal Companion, and some of the leading American collections.

Death and legacy

Havergal died of peritonitis near Caswell Bay on the Gower Peninsula in Wales at age 42. She is buried in the far western corner of the churchyard at St Peter's parish church, Astley, together with her father and near her sister, Maria V. G. Havergal.

Her sisters saw much of her work published posthumously. Havergal College, a private girls' school in Toronto, is named after her. The composer Havergal Brian adopted the name as a tribute to the Havergal family.

Style and themes
Her hymns praised the love of God, and His way of salvation to this end, and for this object, her whole life and all her powers were consecrated. She lived and spoke in every line of her poetry.

Her religious views and theological bias were distinctly set forth in her poems, and may be described as mildly Calvinistic, without the severe dogmatic tenet of reprobation. The burden of her writings was a free and full salvation, through the Redeemer's merits, for every sinner who will receive it, and her life was devoted to the proclamation of this truth by personal labours, literary efforts, and earnest interest in Foreign Missions.

Books

 * Ministry of Song (1870)
 * Take My Life and Let It Be (1874)
 * Under the Surface (1874)
 * The four happy days (1874)
 * Like a river glorious is God's perfect peace (1876)
 * Who Is on the Lord's Side? Who will Serve the King? (1877)
 * Royal Commandments (1878)
 * O Merciful Redeemer
 * Loyal Responses (1878)
 * Kept for the Master's Use (1879) memoir
 * Life Chords (1880)
 * Royal Bounty (1877)
 * Little Pillows, or Goodnight Thoughts for the Little Ones (1880)
 * Morning bells, or, Waking thoughts for the little ones (1880)
 * Swiss Letters and Alpine Poems (1881) edited by J. M. Crane
 * Under His Shadow: the Last Poems of Frances Ridley Havergal (1881)
 * The Royal Invitation (1882)
 * Life Echoes (1883)
 * Poetical Works (1884) edited by M. V. G. Havergal and Frances Anna Shaw
 * Coming to the King (1886)
 * Jesus, Master, Whose I am Hymns of the Christian Life 1936
 * My King and His Service (1892)
 * Forget Me Nots of Promise, Text from Scripture and verses by Frances Ridley Havergal, Marcus Ward&Co.

Hymns

 * 1) A happy New Year! Even such may it be. (Occasion or theme: New Year.) From Under the Surface, 1874.
 * 2) Certainly I will be with thee. Birthday. September 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 3) Church of God, beloved and chosen. (Occasion or theme: Sanctified in Christ Jesus.) 1873. (P. 1873.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 4) God Almighty, King of nations. (Occasion or theme: Sovereignty of God.) 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 5) God doth not bid thee wait.. (Occasion or theme: God faithful to His promises.) 22 October 1868, at Okehampton. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879.
 * 6) God of heaven, hear our singing. (Occasion or theme: A Child's hymn for Missions.) 22 October 1869, at Leamington. Published in her Twelve Sacred Songs for Little Singers, 1870, and her Life Chords, 1880.
 * 7) God will take care of you, All through the day. (Occasion or theme: The Good Shepherd.) In Mrs. Brock's Children's Hymn Book, 1881.
 * 8) God's reiterated all. (Occasion or theme: New Year.) 1873, at Winterdyne. (C. 1873.) Published in Loyal Responses, 1878, and Life Mosaic, 1879.
 * 9) Have you not a word for Jesus?. (Occasion or theme: Boldness for the Truth.) November 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 10) He hath spoken in the darkness. (Occasion or theme: Voice of God in sorrow.) 10 June 1869, at Neuhausen. (P. 1870.) Published in Under the Surface, 1874, and in Life Mosaic, 1879.
 * 11) Hear the Father's ancient promise. (Occasion or theme: Promise of the Holy Spirit.) August 1870. Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 12) Holy and Infinite! Viewless, Eternal. (Occasion or theme: Infinity of God.) IST2. Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 13) Holy brethren, called and chosen. (Occasion or theme: Motive for Earnestness.) 1872. of Snepp's Songs of Grace and Glory, 1876.
 * 14) I am trusting Thee, Lord Jesus. (Occasion or theme: Faith.) September 1874, at Ormont Dessons. (P. 1874.) Published in Loyal Responses, 1878, and Life Chords, 1880. Havergal's tune, "Urbane" (Snepp's Songs of Grace and Glory, 1048), was composed for this hymn. The hymn was the author's "own favourite," and was found in her pocket Bible after her death.
 * 15) I bring my sins to Thee. (Occasion or theme: Resting all on Jesus.) June, 1870. (P. 1870.) Printed in the Sunday Magazine, 1870, and Home Words, 1872. Published in Under the Surface, 1874, and Life Chords, 1880.
 * 16) I could not do without Thee. (Occasion or theme: Jesus All in All.) 7 May 1873. (P. 1873.) Printed in Home Words, 1873, and published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 17) In full and glad surrender. (Occasion or theme: Confirmation.) Havergal's sister says this hymn was "The epitome of her [Miss F. R. H.'s] life and the focus of its sunshine." It is a hymn of personal consecration to God at all times.
 * 18) In the evening there is weeping. (Occasion or theme: Sorrow followed by Joy.) 19 June 1869, at the Hotel Jungfraublick, Interlaken. "It rained all day, except a very bright interval before dinner. Curious long soft white clouds went slowly creeping along the Schynige Platte; I wrote "Evening Tears and Morning Songs." (Marg. reading of Ps. xxx. 5.)" (P. 1870.) Published in Under the Surface, 1874.
 * 19) Increase our faith, beloved Lord. (Occasion or theme: Increase of Faith desired.) In Loyal Responses, 1878, in 11 stanzas of 4 lines, on St. Luke xvii. 5. It is usually given in an abridged form.
 * 20) Is it for me, dear Saviour?. (Occasion or theme: Heaven anticipated.) November 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 21) Israel of God, awaken. (Occasion or theme: Christ our Righteousness.0 May 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 22) Jehovah's covenant shall endure. (Occasion or theme: The Divine Covenant), 1872. Published in Charles Busbridge Snepp's Songs of Grace and Glory, 1876.
 * 23) Jesus, blessed Saviour. (Occasion or theme: New Year.) 25 November 1872, at Leamington. (P. 1873.) Printed in the Day, spring Magazine, January 1873, and published in Life Chords, 1880.
 * 24) Jesus only! In the shadow. (Occasion or theme: Jesus All in All.)  4 December 1870, at Pyrmont Villa. (P. de C. 1871.) Published in Under the Surface, 1874, and in Life Mosaic, 1879.
 * 25) Joined to Christ by [in] mystic union. (Occasion or theme: The Church the Body of Christ.) May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, Life Mosaic, 1879.
 * 26) Just when Thou wilt, 0 Master, call. (Occasion or theme: Resignation.) In Loyal Responses, 1878, in 5 stanza of 4 lines, and Whiting's Hys. for the Church Catholic, 1882.
 * 27) King Eternal and Immortal. (Occasion or theme: God Eternal.) Written at Perry Willa, Perry Barr, 11 February 1871, and published in Snepp's Songs of Grace and Glory, 1876; Under the Surface, 1874; and Life Mosaic, 1879.
 * 28) Light after darkness, Gain after loss. (Occasion or theme: Peace in Jesus, and the Divine Reward.) In Sankey's Sac. Songs and Solos, from her Life Mosaic, 1879.
 * 29) Like a river glorious, Is God's perfect Peace. (Occasion or theme: Peace.) In her Loyal Responses, 1878, in 3 stanzas of 8 lines, with the chorus, "Stayed upon Jehovah." In several collections.
 * 30) Master, speak! Thy servant heareth. (Occasion or theme: Fellowship with and Assistance from Christ desired.) Sunday evening, 19 May 1867, at Weston-super-Mare. Published in Ministry of Song, 1869, and Life Mosaic, 1879. It is very popular.
 * 31) New mercies, new blessings, new light on thy way. (Occasion or theme: New Life in Christ.) 1874, st Winterdyne. (0. 1874.) Published in Under His Shadow, 1879, Life Chords, 1880.
 * 32) Not your own, but His ye are. (Occasion or theme: Missions.) 21 January 1867. (C. 1867.) Published in Ministry of Song, 1869; Life Mosaic, 1879; and the Hyl. for Church Missions, 1884.
 * 33) Now let us sing the ' song. (Occasion or theme: Christmas.) In her Life Mosaic, 1879; and W. R. Stevenson's School Hymnal, 1880.
 * 34) Now the daylight goes away. (Occasion or theme: Evening.) 17 October 1869, at Leamington. Published in Songs for Little Singers, 1870, and Life Chords, 1880. It originally read, "Now the light has gone away."
 * 35) Now the sowing and the weeping. (Occasion or theme: Sorrow followed by Joy.) 4 January 1870, at Leamington. Printed in Sunday at Home, 1871; and published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 36) O Glorious God and King. (Occasion or theme: Praise to the Father.) February 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 37) O Saviour, precious holy! Saviour. (Occasion or theme: Christ worshipped by the Church.) November 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 38) 0 thou chosen Church of Jesus. (Occasion or theme: Election.) 6 April 1871. Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 39) 0 what everlasting blessings God outpo His own. (Occasion or theme: Salvation everlasting.) 12 August 1871, Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 40) Our Father, our Father, Who dwellest in light. (Occasion or theme: The blessing of the Father desired.) 14 May 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tertius, was composed for this hymn.
 * 41) Our Saviour and our King. (Occasion or theme: Presentation of the Church to the Father.) (Heb. ii. 13.) May, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 42) Precious, precious blood of Jesus. (Occasion or theme: The precious Blood.) September 1874, at Ormont Dessons. (C.) Published in Loyal Responses, 1878, and Life Chords, 1880.
 * 43) Sing, 0 heavens, the Lord hath done it. (Occasion or theme: Redemption.) In The Life Mosaic, 1879, and the Universal H. Bk., 1885.
 * 44) Sit down beneath. His shadow. (Occasion or theme: Holy Communion.) 27 November 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 45) Sovereign Lord and gracious Master. (Occasion or theme: Grace consummated in Glory.) 22 October 1871. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879.
 * 46) Standing at the portal of the opening year. (Occasion or theme: New Year.) 4 January 1873. Published in Under the Surface, 1874, and Life Chords, 1880.
 * 47) To Thee, 0 Comforter divine. (Occasion or theme: Praise to the Holy Spirit.) 11 August 1872, at Perry Barr. Published in Under the Surface, 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tryphosa, was written for this hymn.
 * 48) True-hearted, whole-hearted, faithful and loyal. (Occasion or theme: Faithfulness to the Saviour.) In her Loyal Responses, 1878, and the Universal Hymn Book, 1885.
 * 49) What know we, Holy God, of Thee!. (Occasion or theme: God's Spirituality.) 1872. Published in Under the  Surface, 1874, and Life Mosaic, 1879.
 * 50) Who is on the Lord's side!. (Occasion or theme: Home Missions.) 13 October 1877. Published in Loyal Responses, 1878, and Life Chords, 1880.
 * 51) With quivering heart and trembling will. (Occasion or theme: Resignation.) 10 July 1866, at Luccombe Rectory. (P. 1866.) Published in Ministry of Song, 1869, and Life Mosaic, 1879.
 * 52) Will ye not come to Him for life?. (Occasion or theme: The Gospel footation.) 1873. Published in Snepp's Songs of Grace and Glory d: G., 1876.
 * 53) Worthy of all adoration. (Occasion or theme: Praise to Jesus as the Lamb upon the throne.) 26 February 1867, at Oakhampton. Published in Ministry of Song, 1869, and Life Mosaic, 1874. It is pt. iii. of the "Threefold Praise," and was suggested by the "Worthy is the Lamb," the "Hallelujah" and “Amen "choruses in Handel's Messiah.
 * 54) Ye who hear the blessed call. (Occasion or theme: The Invitation of the Spirit and the Bride.) March, 1869, at Leamington. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. Suggested by, and written for, the Young Men's Christian Association.
 * 55) Yes, He knows the way is dreary. (Occasion or theme: Encouragement.) 1867. Published in Ministry of Song, 1869.

title: Frances Ridley Havergal


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Nicholas Biddle (disambiguation)

Nicholas Biddle (1786–1844) was an American banker and President of the Second Bank of the United States.

Nicholas Biddle may also refer to:
 * Nicholas Biddle (naval officer) (1750–1778), officer in the American Continental Navy
 * Nicholas Biddle, a First Defender injured in the Baltimore riot of 1861
 * SS Nicholas Biddle, a Liberty ship

title: Nicholas Biddle (disambiguation)


text:
Wikipedia:Articles for deletion/Angela Tassari

Angela Tassari
was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was

Unnotable high school athlete. --jpgordon{gab} 15:48, 24 Oct 2004 (UTC) This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete. — Bill 16:48, 24 Oct 2004 (UTC)
 * Delete: High school athlete. Geogre 05:00, 25 Oct 2004 (UTC)
 * Delete. NeoJustin 10:49 Oct 25, 2004 (UTC)
 * Obscure amateur athlete, and possible vanity. Delete. --Slowking Man 05:58, Oct 25, 2004 (UTC)
 * Delete. Jayjg 21:44, 25 Oct 2004 (UTC)


text: Category:Otsego County, New York

title: Category:Otsego County, New York


text:
Lok Shakti

Lok Shakti (lit. People's Power) was a political party in India. Lok Shakti was one of several parties that were formed when the Janata Dal crumbled in the mid-1990s. LS was formed in February 1997 after Ramakrishna Hegde was expelled from Janata Dal. Lok Shakti emerged as a major party in Karnataka. It was a founding member of the National Democratic Alliance. It eventually merged with Janta Dal (United).

Merger
Before the 1999 general election, faction led by then Chief Minister of Karnataka J. H. Patel lent support to the National Democratic Alliance, leading to the split in the Janata Dal. This caused the formation of Janata Dal (Secular) under H. D. Deve Gowda, who wanted to remain equidistant from both national parties; and Janata Dal (United) under Sharad Yadav.

Janata Dal (United) was formed with the merger of the Sharad Yadav faction of the Janata Dal, the Lok Shakti and the Samata Party. On 30 October 2003, the Samata Party led by George Fernandes and Nitish Kumar merged with the Janata Dal. The merged entity was called Janata Dal (United) with the arrow symbol of Janata Dal (United) and the green and white flag of the Samata Party. But Election Commission of India refused the merger of Samata Party. Brahmanand Mandal became the president, but he is suffering from Alzheimer's disease and not physically well so Uday Mandal became President and he has taken charge of the Samata Party. The uniting force is believed to be common opposition to Rashtriya Janata Dal in Bihar especially after the Rashtriya Janata Dal welcomed Samata Party rebels like Raghunath Jha into the party.

Party Presidents
Ramakrishna Hegde

Presidents
Jeevaraj Alva (1999)

title: Lok Shakti


text:
Edward Stanley, Lord Stanley (died 1938)

Edward Montagu Cavendish Stanley, Lord Stanley, (9 July 1894 – 16 October 1938) was a British Conservative politician. The eldest son of the 17th Earl of Derby, he held minor political office before being appointed Secretary of State for Dominion Affairs in 1938, sitting in the cabinet alongside his brother Oliver Stanley. However, Stanley died only five months after this appointment, aged 44; his eldest son, Edward John Stanley, later succeeded to the earldom in his stead.

Background and education
Stanley was born in Marylebone, London, the eldest son and heir apparent of Edward Stanley, later to become 17th Earl of Derby, by Lady Alice Montagu. He was spectacularly well-connected to leading political families.

His father was at the time of Stanley's birth Conservative MP for Westhoughton, Lancashire, and went on to serve as Secretary of State for War from 1916 to 1918 and from 1922 to 1924. His paternal grandfather, the 16th Earl of Derby, was a former Lancashire MP, Colonial Secretary, and Governor-General of Canada. His great-uncle, the 15th Earl, twice served as Foreign Secretary and was Prime Minister Lord Salisbury's stepfather, while his best-known ancestor was his great-grandfather, the 14th Earl, who was Leader of the Conservative Party for 22 years (1846–1868; the longest tenure in that office) and Prime Minister three times (1852, 1858–59, and 1866–68). His paternal grandmother, Lady Constance Villiers, was daughter of Lord Clarendon, who himself served on three occasions as Foreign Secretary. Lord Stanley's paternal uncles Sir Arthur and Sir George also served as Conservative MPs.

His maternal grandfather was William Montagu, 7th Duke of Manchester, also a Conservative peer and MP. His maternal grandmother Louisa von Alten married after the death of the Duke of Manchester, Spencer, Duke of Devonshire, also known as Lord Hartington, who for a time (before inheriting his peerage) was Leader of the Liberal Party in the House of Commons.

His sister Victoria married Neil Primrose, the son of Liberal Prime Minister Lord Rosebery. Oliver Stanley was his younger brother, and his son Richard became an MP.

He became known by the courtesy title Lord Stanley in 1908, when his father succeeded in the earldom of Derby. He was educated at Eton and Magdalen College, Oxford.

Military career
Lord Stanley was commissioned a second lieutenant on 2 July 1914. He was promoted to temporary lieutenant in the Grenadier Guards on 15 November 1914, later with seniority from 3 November 1914, and became a substantive lieutenant on 11 November 1914.

On 29 January 1916, he was made a supernumerary temporary captain with the Guards, relinquishing the rank on 12 May 1916. Lord Stanley was appointed adjutant of the newly formed Household Battalion on 9 September 1916, again as a temporary captain. He received a substantive captaincy on 26 September 1916 and served as adjutant until 12 January 1917.

He was appointed a staff captain and seconded on 13 August 1917, and made a brigade major on 22 January 1918, a post he held until 11 March 1918. He served as a general staff officer, 3rd grade, from 6 May 1918 to 8 October 1918. On 9 October 1918, he was again appointed a brigade major, serving in that capacity until 2 November 1919. Lord Stanley was awarded the Military Cross on 3 June 1919, for his service in Italy during the First World War. On 27 November 1920, he retired from the Army and entered the reserve of officers as a captain.

Political career
Lord Stanley was first elected to Parliament on 28 June 1917 in a by-election in Liverpool Abercromby. He left Parliament the following year, when the seat was abolished for the 1918 general election. During this time, he was the Baby of the House. He returned to Parliament in the 1922 general election when he was elected for Fylde. He served under Stanley Baldwin as a Junior Lord of the Treasury from 1924 to 1927 and was a Deputy Chairman of the Conservative Party from 1927 to 1929.

On the formation of the National Government after the 1931, Stanley was made Parliamentary and Financial Secretary to the Admiralty under Ramsay MacDonald. On 26 February 1934, he was admitted to the Privy Council. In 1935 he was made Under-Secretary of State for Dominion Affairs by Baldwin, and later that year was made Parliamentary and Financial Secretary to the Admiralty. Two years later, Lord Stanley became Under-Secretary of State for India and Burma.

On 16 May 1938 he entered the cabinet as Secretary of State for Dominion Affairs. His brother, Oliver, was also in the Cabinet as President of the Board of Trade. However, in October 1938, five months after being appointed to the cabinet, Lord Stanley died in Marylebone, aged 44. Neville Chamberlain paid tribute to him in the House of Commons:

"So great, indeed, was his keenness and his interest in Imperial relations that he insisted on carrying out his intention to visit Canada, although even then he was suffering from the disease which has now ended fatally. Perhaps in that office he would have, for the first time, found an opportunity of showing the full extent of his powers, for those who knew him best had long recognised that he possessed to an exceptional degree the high qualities of steady judgment and sterling good sense, combined with a complete and utter selflessness and integrity of purpose."

Family
Lord Stanley married the Honourable Sibyl Louise Beatrix Cadogan, daughter of Henry Cadogan, Viscount Chelsea, in 1917; they had three sons. He died in Marylebone, London, in October 1938, aged 44, predeceasing his father by ten years. His eldest son Edward succeeded his grandfather in the earldom in 1948. The second son, Richard, later became MP for Fylde North, and third son Hugh Henry Stanley (1926-1971) was the father of Edward Stanley, 19th Earl of Derby. Lady Stanley died in June 1969, aged 76.