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Gankutsuou: The Count of Monte Cristo

Gankutsuou: The Count of Monte Cristo is a Japanese anime television series produced by Gonzo. An adaptation of the 1844 novel The Count of Monte Cristo by Alexandre Dumas; the 24-episode series aired on Japanese television between October 2004 and March 2005. It was licensed for a Western release first by Geneon Entertainment and later by Funimation. The series was adapted into a CD drama, a trilogy of novels by screenwriter Shuichi Kouyama, and a manga series written and drawn by series creator Mahiro Maeda, with additional story elements written by Yura Ariwara which ran from 2005 to 2008.

Set in the year 5053, the series focuses on the impact of the titular Count: formerly a sailor named Edmund Dantes, he was betrayed by his friends and imprisoned on false charges. Aided by a mysterious force dubbed "Gankutsuou", Dantes escaped and refashioned himself as the Count, determined to exact vengeance on those who wronged him. The series is mainly told from the perspective of Viscount Albert de Morcerf, the teenage son of one of the Count's enemies. While the series adapts much of the original storyline and carries over its theme of revenge, the plot and characters feature multiple differences.

Originally intended as an adaptation of The Stars My Destination by Alfred Bester, the copyright holders' refusal to allow an adaptation led Maeda to instead use Dumas's novel, which had parallel themes to Bester's story. Maeda created the story and characters, collaborating on the former with Kouyama and the latter's designs with artist Hidenori Matsubara. The anime's artstyle blended Western Impressionism and Japanese Ukiyo-e styles. Fashion designer Anna Sui collaborated on costume designs. Original music was co-composed by Jean-Jacques Burnel of British band The Stranglers, who also composed and sang the main themes. The series was praised by critics and received multiple accolades.

Synopsis
Gankutsuou: The Count of Monte Cristo is set in the year 5053; the two major powers are the planet Earth and the alien-dominated Eastern Empire, who have been at war for an undetermined time. During a visit to the Moon-based city of Lune with his childhood friend Baron Franz d'Epinay, Viscount Albert de Morcerf meets a mysterious self-made nobleman called the Count of Monte Cristo. After the Count helps Franz save Albert from a gang of kidnappers, Albert introduces the Count into the high society of Paris. This includes Albert's father General Fernand de Morcerf and his wife Mercedes; the powerful banker Baron Jullian Danglars, his wife Victoria, and their daughter and Albert's betrothed Eugénie; and the Crown Prosecutor of Paris Gérard de Villefort, his current wife Héloïse, and his first wife's daughter Valentine. Albert later meets the Count's alien princess companion Haydée and the Marquis Andrea Cavalcanti, a flamboyant nobleman who quickly replaces Albert as Eugénie's fiancee through the Count's influence.

During the course of the story, the Count is revealed to be Edmund Dantes, a former sailor and Mercedes's first love. Twenty years before, he was falsely implicated in a murder by his assumed friends Danglars and Fernand—Danglars due to his hatred of Edmund's honesty, and Fernand to win Mercedes's hand. Edmund is then imprisoned in the Château d'If by Villefort, who sought to protect himself due to being part of an associated political conspiracy. With the aid of a demonic being called Gankutsuou that was lurking in the d'If, Edmund escaped and refashioned himself as the Count, committing himself to revenge against those who wronged him and orchestrating Albert's kidnapping to ingratiate himself with Parisian society.

The Count's revenge against his enemies spans multiple fronts. With Danglars, the Count manipulates events to ruin him, then later confronts him when he tries to escape his creditors; after revealing his identity, the Count leaves Danglars adrift in space. This event is compounded by the exposing of Andrea as a fraud and murderer, having been set up by the Count as royalty as part of his revenge. Albert helps Eugénie escape Paris, with the two admitting their love for each other. With Villefort, the Count first arranges for Héloïse to poison Valentine, of whom she is jealous. Valentine is saved and removed to Marseilles by her soldier lover Maximilien Morrel with Franz's help. The Count then arranges for Héloïse to poison herself, driving her insane. Villefort attacks the Count and is put on trial. Andrea appears and reveals himself as the illegitimate son of Villefort and Victoria, then poisons Villefort as revenge for his abandonment. The poison drives Villefort insane just after the Count reveals his motives.

Alongside these events, the Count ruins Fernand's name with help from Haydée, whose family was framed and murdered by Fernand as allies of the Eastern Empire, and who was sold into slavery. Albert challenges the Count to a duel for his family's honor, but Franz takes his place and is killed; in the process, Franz inflicts a fatal wound to the Count, who is kept alive by Gankutsuou. Fernand rallies his forces for a coup d'état in Paris, which results in the city being damaged, Andrea escaping prison and Villefort being killed during the ensuing chaos; Fernand's aim is to take over the Earth government and wage fresh war against the Eastern Empire. When Albert and Mercedes try to reason with Fernand after they learn the truth, he injures them and confronts the Count, resulting in a stand-off where Fernand holds Haydée hostage. The Count becomes completely possessed by Gankutsuou and attempts to murder Albert, but Albert manages to banish Gankutsuou; and free from its control, Edmund dies. Albert, Mercedes and Haydée escape, while Fernand commits suicide in an act of redemption. Five years later, peace is being established between Earth and the Eastern Empire. Haydée assumes her place as queen of her world; Maximilien leaves the army to live with Valentine; Mercedes is at peace, though mourning Edmund and Fernand's deaths; and Albert, having rebuilt his life, reunites with Eugénie.

Themes
The anime is an adaptation of The Count of Monte Cristo, a French adventure novel written by Alexandre Dumas in collaboration with his regular partner Auguste Maquet, beginning as a newspaper serial in 1844. The Count of Monte Cristo is considered a literary classic, and in the years since its publication has received numerous adaptations. While the original novel took place during the Bourbon Restoration of the early 19th century, Gankutsuou takes place in a distant science fiction-based future, although multiple events within the anime parallel the historic and political events portrayed in the novel. As with the original novel, Gankutsuou focuses on the theme of revenge; Edmund's pursuit of his enemies and how far he is prepared to go to exact slow calculated retribution is the central plot of both the novel and the anime. According to series creator Mahiro Maeda, the original story's Christian elements—which focused the novel's themes on forgiveness and divine retribution—were cut out to make the story more accessible to the audience, in addition to him thinking that the Count would never have enacted his revenge in the face of the novel's Christian themes. As a consequence, the anime's central theme became how the cast's actions are influenced by their emotions.

While the core narrative remains intact and multiple characters are carried over directly from Dumas's original book, there are several alterations; the Count's origins are told in flashback rather than as part of a linear narrative, some characters such as Eugénie and the Count himself have differing fates, while other characters are removed entirely along with several subplots from the original novel. The anime's ending also differs substantially from the original novel's, particularly with the involvement of Albert and the Count's eventual fate. A key story element in the anime is the Count's relationship with Albert, who is given the role of main protagonist and medium for the viewer. Initially used as a pawn in the Count's schemes as in Dumas's original story, Maeda says that the Count slowly begins to see his old self in Albert's pure and trusting nature, but is still driven by his need for revenge against Albert's father Fernand. In the end, the Count is possessed by Gankutsuou and overtaken by their combined lust for revenge when he realizes their similarity. Maeda described the parallel yet contrasting perspectives of Albert and the Count as an expression of the original novel's final words "Wait and Hope"; the question put to viewers was how far the Count would go with his revenge and how Albert could reach him, also tying into words spoken by Franz earlier in the series about love and hate both stemming from a person caring for others.

Development
Gankutsuou was produced by Japanese animation studio Gonzo, with support from Media Factory and Kadokawa Corporation. Maeda acted as director, alongside creating the original concept and scenario draft. Maeda's draft was expanded into a full series by screenwriters Shuichi Kouyama, Natsuko Takahashi and Tomohiro Yamashita. The photography director was Takeo Ogiwara, while 3D CGI graphics were animated by Akira Suzuki. The art directors were Hiroshi Sasaki and Yusuke Takeda. Character designs were done by anime artist Hidenori Matsubara, with mechanical designs being handled by Makoto Kobayashi.

Design
The art style of the anime was used by Maeda to combine Western Impressionism with Ukiyo-e, a style of 19th century Japanese painting which strongly influenced the Impressionist movement. Among the artists referenced in the anime's style was Gustav Klimt, who was one of Maeda's favorite artists and provided inspiration for using blocks of strong primary colors. To create the anime's distinct animation style—which saw multiple bold colors and overlaid background and foreground layers—Maeda used a computer graphics program. One of the show's producers, Taichi Hashimoto, later stated that Gonzo wanted to make an anime that "talked" to viewers, something he felt was realized with Gankutsuou. The use of the technique was also inspired by Maeda's liking for clear-cut costumes and outlines in Noh theater, contrasting against the highly-detailed traditional animation dominating anime production at the time.

Use of the program came about due to issues created by the source material, which set its events in grand aristocratic houses and consequently made key animation challenging. After trying several different animation types and getting nowhere, Maeda tried the computer-managed layering system, which made the process both possible and much easier than traditional animation. By using the computer program, Maeda could create different texture layers within scenes, creating something simultaneously complicated and minimalist. Because of this style, Maeda had to imagine each scene as being filmed with live-action actors rather than focusing on animation. Maeda wanted to give the impression in scenes that the audience were seeing it from far away, while character gestures held more meaning. This method was also chosen because Maeda wanted to fully express the different textures of character clothing. During the testing stages, Maeda worked with professional stylists, stapling fabric pieces to concept drawings to achieve the desired effect. Because of the use of the program, the illustrators only needed to create the clothing outlines for key frames rather than full character designs. Maeda later described the business side of animation production for Gankutsuou as "a nightmare".

The character designs were created by Matsubara, who had gained notoriety for his work on Oh My Goddess! and the Sakura Wars franchise. Matsubara was brought on at an early stage, when Maeda was putting together internal promotion videos for the project. Matsubara designed the characters based on Maeda's drafts. The character design of Gankutsuou was different from other anime of the time, not using shadows and highlighted elements and instead focusing on vigorous movement and exaggerated posture, communicating a character's personality through movement. Describing his feelings towards the project, Matsubara called designing the adult characters a welcome backlash from his earlier work, which focused almost exclusively on drawing and designing young female protagonists. When Matsubara was given Maeda's draft design for the Count, the character looked like a typical villain; as Matsubara created the final design, he softened the villainous aspects and added noble and sarcastic elements to the Count's expressions. Due to the chosen animation style, Matsubara could not put excessive rumples and creases into clothes as they would be invisible against the underlying textures.

Albert was given multiple outfits to reflect his changing attitudes and roles in the anime; his formal suit reflected his clashing feelings about an arranged marriage to Eugénie. Franz's design was less flamboyant than other characters, reflecting his grounded personality and sense of responsibility towards Albert. Eugénie had the most costume changes of the entire cast, with her styling drawing from 1960s fashion to illustrate the disconnect with her family and her wish to rebel. Haydée's design made her appear doll-like, with one of her dresses being modelled on stained glass and reflective of her melancholy background. Mercedes was designed to show her coldness and fragile spirit in the wake of losing Edmund, with her dress design using ice and crystal as a motif. Fernand was intended to be the polar opposite of the count, clothed in white or similar bright colours; Danglars's golden clothes symbolised his obsession with wealth; and Villefort's clothing symbolised his power of control.

In addition to Japanese designers, Gankutsuou saw a collaboration with American fashion designer Anna Sui. Prior to being approached, Sui had always been fond of Japanese anime. During the Japanese launch of a perfume line, Sui visited Gonzo's studios and was approached by Maeda about a collaboration. Having previously done a collaboration for a Dark Horse Comics project and liking the prospect of working on a full-motion animation project, Sui accepted the offer. Her positive impression of the studio's animation technology and her liking for Dumas's original novel also contributed to her acceptance. The anime uses clothing styles drawn from early 19th century France, showing fashions associated with the time including the "dandy" look and widening hems for women's skirts being incorporated. Sui described these designs as her biggest challenge.

Scenario
When Maeda began the project, he initially wanted to adapt The Stars My Destination, a science fiction novel by Alfred Bester. Maeda contacted the copyright holders to license an anime adaptation, but he was refused when the holders saw how many changes he proposed to make to the original narrative. Initially disappointed, Maeda searched for another work he could adapt into a science fiction setting and decided upon The Count of Monte Cristo, as Dumas's novel had parallel themes to The Stars My Destination. Maeda first read a simplified version of The Count of Monte Cristo when he was young. When he read the full version as an adult, he saw that the story was far more complex and interesting.

Maeda's initial draft was expanded upon by Kouyama, Takahashi and Yamashita. Faced with adapting a novel that was over 400-pages long into a 24-episode anime, Maeda struggled with including all the novel's key plot points within the anime while keeping viewers entertained. Originally intending to keep the anime firmly within a science fiction setting, his growing appreciation for the novel and its central human tragedy persuaded him to retain as much of the original's 19th century elements as possible. Maeda's first drafts had the Count as the main protagonist of a picaresque romance. As the project went through its draft stages, the focus shifted away from the adult Count and onto Albert, who was made much younger than in the original novel. The shift towards Albert continued the original novel's themes of changing times and clashing views, in addition to altering the dramatic elements by altering character perspectives and relationship dynamics. The anime's late night broadcast also allowed exploration of mature subjects like drug use and same-sex love, elements present in the original novel.

When reworking the Count, Maeda drew from descriptions from Dumas's text of the Count's coldness being attributed to his being one of the undead; his appearance was also influenced by works associated with the circle of Lord Byron, who contributed to both Mary Shelley's novel Frankenstein and early writing about vampires and whom Maeda assumed Dumas had been inspired by when writing about the Count. Early drafts of the Count had him as a far more eccentric character, with his alien nature being more overt and unsettling. The term "Gankutsuou" was originally used for the novel's Japanese translations dating back to its first publication in 1901, but Maeda took the title and turned it into something literal. The figure of Gankutsuou was a reimagining of Abbe Faria, a mentor figure to Edmund in the original novel. The change derived from Maeda's wish to examine the psychology of the Count and his need for revenge. Maeda later refused to define what Gankutsuou was, suggesting that it might be a manifestation of Edmund's madness. The removal of religious elements present in the novel allowed Maeda to create a narrative which needed no social or religious background to appreciate.

Speaking about his role, Fukuyama said that he almost did not take the role of Albert due to auditioning for another project when the script for Gankutsuou was sent to him. However his audition for the first project was a failure, and though disappointed it left him able to play Albert. Hirakawa, Franz's voice actor, was originally going to be cast as Albert. When Hirakawa arrived at the audition for Albert, a mix-up caused Hirakawa to be given Franz's lines. Rather than immediately correcting the mistake, Maeda tried out Hirakawa for the role of Franz and decided to keep him.

Music
Several pieces of original music for Gankutsuou were composed by Jean-Jacques Burnel, bass guitarist for the British rock band the Stranglers. Burnel and Louie Nicastro handled instrumentation and arrangements, additional guitars were handled by Baz Warne, and vocals were provided by Burnel and Phillipa Cookman. Burnel was directly invited onto the project by Maeda, who flew to London to ask him in person. Maeda, who was a fan of Burnel's work, explained his artistic vision for the anime, and Burnel agreed to compose. He worked from his own country, then sent the completed themes to Japan, where they were arranged to fit the animation and pace where needed. Additional musical pieces and arrangements were done by Koji Kasamatsu and Reiji Kitazato. The music covers multiple genres, including opera and electronic dance. Maeda initially intended the Count's character theme to be the Manfred Symphony from Pyotr Ilyich Tchaikovsky. Burnel had already composed an original character theme, and the rest of the production staff successfully overruled Maeda to keep Burnel's work. The Count's theme mixed original music with samples from Tchaikovsky's Manfred Symphony, Robert le diable by Giacomo Meyerbeer, and Gaetano Donizetti's Lucia di Lammermoor. The classical music was arranged by Kasamatsu, who was the series sound designer. The opening theme "We Were Lovers" and ending theme "You won't see me coming" were composed and sung by Burnel. The lyrics for all songs were written by Burnel.

A soundtrack album, Gankutsuou Original Soundtrack, was released on February 23, 2005 through the Victor Entertainment label Flying Dog. The album featured all music used in the anime including the opening and ending themes. A second album featuring the classical music sampled in the main soundtrack was released by Victor Entertainment on April 13, 2005. Both albums remain exclusive to Japan.

Broadcast
Gankutsuou was first announced in March 2004, alongside its studio, its creator, and its status as an adaptation of Dumas's novel. The 24-episode anime aired on TV Asahi between October 5, 2004 and March 29, 2005; due to the anime's late night slot, its official broadcast date was a day behind the actual date. The third and fourth episodes underwent slight changes in their broadcast times. The series aired on Animax a day after its TV Asahi broadcast, running from October 6, 2004 and March 30, 2005. Late night and afternoon repeats followed the succeeding day. It was later broadcast on NHK BS2 between June 17 and December 2, 2008. A second repeat broadcast on AT-X between January 7 and June 20, 2012.

Home media
The series was released in Japan on DVD by Media Factory; the series was published across twelve volumes between February 25, 2005 and January 25, 2006, with two episodes on each volume in addition to special features such as interviews and artwork. The complete series was released on Blu-ray on August 24, 2011 by Media Factory.

The anime was first licensed for a Western release by Geneon Entertainment, which released the title on DVD with both subtitled Japanese audio and an English dub. The DVDs were released as "Chapters" with four episodes per volume; the DVDs released between October 25, 2005 and September 12, 2006. The first "Chapter" also released on Universal Media Disc concurrent with the DVD version. This version was released in Australia by Madman Entertainment beginning in April 2006. Gankutsuou was among the anime affected when Geneon Entertainment ended anime distribution in 2007. Following this, Funimation licensed the anime from Gonzo in 2008. The complete series was released on DVD on April 28, 2009. United Kingdom company Anime Limited licensed the anime for commercial release in 2014. The Blu-ray version released in 2016; a limited edition released with steelbook case and artbook released on February 8, while the standard edition released on April 3.

Adaptations
Gankutsuou was adapted into a manga series which ran in Monthly Afternoon from March 25, 2005, to March 25, 2008 issues. The manga was drawn by Maeda, who also provided the story draft; the manga and additional story elements were written by Yura Ariwara. Maeda was approached about a manga adaptation of Gankutsuou during production of the anime. Maeda agreed as it would potentially attract more people to the anime. The manga used a traditional handdrawn style rather than emulating the anime's artstyle, a decision made by Maeda. While the anime focused on the young characters of Albert and Franz, Maeda focused the manga on the machinations and inner workings of the Count himself, expanding upon events either briefly mentioned or left out of the anime. Maeda commented that he would have stopped the manga project quite early without the support of staff from both the anime and the manga. The manga was published in three volumes between December 2005 and July 2008 by Kodansha. The three volumes were published in English by Del Rey Manga, an imprint of Random House, between November 2008 and August 2009.

A trilogy of novelizations was released between December 25, 2004 and May 25, 2005. The novels were written by Kouyama, with cover illustrations by Matsubara. A CD drama was published in November 2005 by Victor Entertainment. The drama covers events supplementary to the anime relating to the Count's past and the backstories of various characters.

A stage play adaptation was announced in August 2019 and ran from December 20-28, 2019. The play directed and written by Yū Murai. Anime co-creator and director Mahiro Maeda collaborated on the stage production with Taichi Hashimoto, and Chūji Mikasano is the play's dramaturge. The play stars Shohei Hashimoto as Albert de Morcef, Masashi Taniguchi as the Count of Monte Cristo, and Junon Superboy Anothers member Yō Maejima as Franz d'Epinay.

Reception
Gankutsuou was praised when released in North America, with sources such as Anime Insider; DVDTalk; Newsarama.com; Animeondvd.com; and Anime News Network. judging it to be among the best releases of the year. Reviews have generally been extremely positive. They mainly focused on the visual effects of the show, both to its benefit and its detriment. Stig Høgset of THEM Anime Reviews commented, "the show is beautiful most of the time." Theron Martin of Anime News Network awarded Gankutsuou the Best Series of The Year. It also won the Best TV Series award at the 10th Animation Kobe Fair.

Helen McCarthy in 500 Essential Anime Movies praised its "dazzling visual inventiveness".

title: Gankutsuou: The Count of Monte Cristo


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User talk:0101LEElm

Welcome to the Wikipedia
Welcome, newcomer!

Here are some useful tips to ease you into the Wikipedia experience:

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 * When you have some free time, take a look at the Manual of Style and Policies and Guidelines. They can come in very handy!
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User talk:Hathor

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Evacuations of civilians in Britain during World War II

The evacuation of civilians in Britain during the Second World War was designed to defend individuals, especially children, from the risks associated with aerial bombing of cities by moving them to areas thought to be less at risk.

Under the name "Operation Pied Piper", the effort began on 1 September 1939 and officially relocated 1.5 million people. There were further waves of official evacuation and re-evacuation from the south and east coasts in June 1940, when a seaborne invasion was expected, and from affected cities after the Blitz began in September 1940. Official evacuations also took place from the UK to other parts of the British Empire, and many non-official evacuations within and from the UK. Other mass movements of civilians included British citizens arriving from the Channel Islands, and displaced people arriving from continental Europe.

Background
The Government Evacuation Scheme was developed during the summer of 1938 by the Anderson Committee and implemented by the Ministry of Health. The country was divided into zones, classified as either "evacuation", "neutral", or "reception", with priority evacuees being moved from the major urban centres and billeted on the available private housing in more rural areas. Each zone covered roughly a third of the population, although several urban areas later bombed had not been classified for evacuation.

In early 1939, the reception areas compiled lists of available housing. Space was found for about 2,000 people, and the government also constructed camps that provided a few thousand additional spaces.

The government began to publicise its plan through the local authorities in summer 1939. The government had overestimated demand: only half of all school-aged children were moved from the urban areas instead of the expected 80%. There was enormous regional variation: as few as 15% of the children were evacuated from some urban areas, while over 60% of children were evacuated from Manchester, Belfast and Liverpool. The refusal of the central government to spend large sums on preparation also reduced the effectiveness of the plan. Despite that, over 3,000,000 people were evacuated.

Evacuation
Almost 3.75 million people were displaced, with around a third of the entire population experiencing some effects of the evacuation. In the first three days of official evacuation, 1.5 million people were moved: 827,000 children of school age; 524,000 mothers and young children (under 5); 13,000 pregnant women; 7,000 disabled people and over 103,000 teachers and other 'helpers'. Children were parted from their parents.

Goods as well as people were evacuated; organisations or departments departed the cities. Art treasures were sent to distant storage: The National Gallery collection spent the war at the Manod Quarry near Ffestiniog, North Wales. The Bank of England moved to the small town of Overton, Hampshire and in 1939–40 moved 2,154 tons of gold to the vaults of the Bank of Canada in Ottawa. The BBC moved variety production to Bristol and Bedford and moved senior staff to Wood Norton near Evesham, Worcestershire. Many senior Post Office staff were relocated to Harrogate. Some private companies moved head offices or their most vital records to comparative safety away from major cities.

Government functions were also evacuated. Under "Plan Yellow", some 23,000 civil servants and their paperwork were dispatched to available hotels in the better coastal resorts and spa towns. Other hotels were requisitioned and emptied for a possible last-ditch "Black Move" should London be destroyed or threatened by invasion. Under this plan, the nucleus of government would relocate to the West Midlands—the War Cabinet and ministers would move to Hindlip Hall, Bevere House and Malvern College near Worcester and Parliament to Stratford-upon-Avon. Winston Churchill was to relocate to Spetchley Park whilst King George VI and other members of the royal family would take up residence at Madresfield Court near Malvern.

Some strained areas took the children into local schools by adopting the First World War expedient of "double shift education"—taking twice as long but also doubling the number taught. The movement of teachers also meant that almost a million children staying home had no source of education.

Evacuation centres
In 1939 the British Government passed the Camps Act 1939 which established the National Camps Corporation as a body to design and build residential camps for young people, which could provide opportunities for outdoor learning and also act as evacuation centres in the event of war. The architect T. S. Tait was responsible for the design of the buildings, which included accommodation for over 200 children and staff, recreational halls, wash blocks and a dining hall/kitchen complex. These camps were replicated in over thirty different rural locations around the country.

During the war years, they acted as safe refuges for city children. After the war the ownership of the sites was transferred to the local authorities. Over the years most of these sites have been lost, but the best preserved example today is Sayers Croft at Ewhurst, Surrey. The dining hall and kitchen complex is protected as a Grade II listed building because of the importance of Tait's work, and because of the painted murals depicting the life of the many evacuees. Evacuation Centres were also set up by the Foster Parent Plan (FPP) for Children Affected by War, later renamed Plan International.

One evacuated school was sponsored by the FPP in Knutsford, Cheshire, with each child being financially supported by an American citizen. One female pupil, named Paulette, was sponsored by Mrs Eleanor Roosevelt.

Overseas evacuation
The Children's Overseas Reception Board (CORB) approved 24,000 children for evacuation overseas. Between March and September 1940, 1,532 children were evacuated to Canada, mainly through the Pier 21 immigration terminal; 577 to Australia; 353 to South Africa and 202 to New Zealand. The scheme was cancelled after the SS City of Benares was torpedoed on 17 September 1940, killing 77 of the 90 CORB children aboard. However, in 1940 and 1941 about 14,000 children were evacuated privately to overseas relatives or foster families, including 6,000 to Canada and 5,000 to the United States.

The BBC cooperated with radio networks in the host countries, to make Children Calling Home, a programme which enabled the evacuated children and their parents to talk to each other, live on air.

Other evacuations
A second evacuation effort started during and after the fall of France. From 13 to 18 June 1940, around 100,000 children were evacuated (and in many cases re-evacuated). Efforts were made to remove the vulnerable from coastal towns in southern and eastern England facing German-controlled areas. By July, over 200,000 children had been moved; some towns in Kent and East Anglia evacuated over 40% of the population. Also, some 30,000 people arrived from continental Europe and from 20 to 24 June 25,000 people arrived from the Channel Islands.

As thousands of Guernsey school children arrived in northern England with their teachers, some were allowed to re-establish their schools in empty buildings. Guernsey's Forest School reopened in a church hall in Cheadle Hulme, Cheshire where it operated until August 1945. As a result of the evacuation of so many Guernsey people to England, those returning no longer spoke the Guernsey language (Guernsiaise) after the war.

One of the speediest moves was accomplished by the London, Midland and Scottish Railway when it transferred its headquarters out of London. The company took over The Grove, on the estate of the Earl of Clarendon in Hertfordshire. This was made ready as offices and a number of huts built in the surrounding park. On 1 September 1939, it was decided to move in and the transfer was completed before war was declared two days later. Within three days some 3,000 of the staff were based at the new headquarters.

When the Blitz began in September 1940, there were clear grounds for evacuation. Free travel and billeting allowance were offered to those who made private arrangements. They were also given to children, the elderly, the disabled, pregnant women, the ill and those who had lost their homes (some 250,000 in the first six weeks in London). By the combination of all the state and private efforts, London's population was reduced by almost 25%.

As bombing affected more towns, "assisted private evacuation" was extended. However, not all evacuated children, mothers and teachers were safe in the areas to which they had been evacuated. Air raids, unexploded bombs, military vehicles and military minefields posed risks to the evacuees wherever they were posted in the UK.

London proved resilient to bombing despite the heavy bombardment. The destruction in the smaller towns was more likely to provoke panic and spontaneous evacuations. The number of official evacuees rose to a peak of 1.37 million by February 1941. By September, it stood at just over one million. By the end of 1943, there were just 350,000 people officially billeted. Still, the V-1 flying bomb attacks from June 1944 provoked another significant exodus from London. Up to 1.5 million people left by September – only 20% were "official" evacuees.

From September 1944, the evacuation process was officially halted and reversed for most areas except for London and the east coast. Returning to London was not officially approved until June 1945. In March 1946, the billeting scheme was ended, with 38,000 people still without homes.

Traumatic effect on children
Even at the time, there were some that had grave concerns about the psychological effect on especially the younger children, and wondered whether they would be better off taking the risks with their parents.

In the early 2000s a number of evacuees came forward to clarify the many "bad sides" of the evacuation.

Cultural impact
The movement of urban children of all classes to unfamiliar rural locations, without their parents, had a major impact. The Evacuees Reunion Association was formed with the support of the Imperial War Museum. It provides opportunities for former evacuees to contribute and share evacuation experiences and for researchers to request information such as the long-term effects of evacuation upon children.

The evacuation spawned a whole literature of children's and young adult fiction. The convenience of the setting for the writer is clear, allowing the child heroes to have adventures in a strange, new world. Some of the authors, like Nina Bawden, had themselves experienced evacuation.

 * Kitty Barne's Carnegie Medal-winning Visitors from London (1940) is an early novel about evacuees, set in Sussex.
 * In Richmal Crompton's William and the Evacuees (1940), William Brown is envious of the special treats the evacuees receive and organizes an 'evacuation' of the village children.
 * In C. S. Lewis's novel The Lion, the Witch and the Wardrobe (1950) the Pevensie children are evacuated from London to the stately manor that contains the wardrobe portal to Narnia. It is never stated in which part of England the house was situated.
 * William Golding's novel Lord of the Flies (1954) is about a planeful of evacuating children who are shot down over a tropical island.
 * Michael Bond's beloved children's book character Paddington Bear (1958) is an anthropomorphised orphan bear, who – having stowed away from "Darkest Peru" – is found by a family at Paddington railway station in London, sitting on his suitcase with a note attached to his coat that reads, "Please look after this bear. Thank you." Bond has said that his memories of newsreels showing trainloads of child evacuees leaving London during WWII, with labels around their necks and their possessions in small suitcases, prompted him to do the same for Paddington.
 * Nina Bawden's novel Carrie's War (1973) is about Carrie and Nick, who encounter different religions when they are evacuated to Wales.
 * Noel Streatfeild's novel When the Sirens Wailed (1974) is about three evacuees and covers issues like rations for evacuees, relationship between evacuees and townspeople, and the problems encountered by those who stayed behind.
 * Michael Morpurgo's novel Friend or Foe (1977) is about two evacuees who befriend the crew of a crashed German bomber hiding on Dartmoor.
 * Diana Wynne Jones's novel A Tale of Time City (1987) begins with the main character, Vivian, being evacuated from London. Jones herself was evacuated to Wales in 1939.
 * Michelle Magorian's novel, Goodnight Mister Tom (1981), tells the story of the evacuee Willie Beech and elderly Thomas Oakley with whom he is billeted. It was made into a TV film starring John Thaw as Mr Tom.
 * In the Disney sequel to Peter Pan, Return to Neverland, Wendy Darling's children Jane and Daniel are to prepare for evacuation before Jane is kidnapped by Captain Hook. The introduction to the movie details about the evacuation order and how children need Peter Pan now more than ever.
 * Kit Pearson's Guests of War trilogy, beginning with The Sky Is Falling (1989), chronicles the story of ten-year-old Norah Stoakes and her younger brother Gavin, who are evacuated to Toronto.
 * In the 2015 videogame We Happy Few, set in an alternate reality where Germany successfully invaded and occupied Britain during the war, the main character Arthur Hastings betrays his autistic brother Percival giving him up to the collaborationist authorities in order to be sent to Germany.

Novels for adults featuring evacuation and evacuees are:

 * Put Out More Flags by Evelyn Waugh, in which Waugh's anti-hero Basil Seal uses his position as Billeting Officer to extort bribes (for moving disruptive children elsewhere) from hapless and reluctant hosts.
 * Noel Streatfeild's adult novel Saplings (1945).
 * Connie Willis's two-volume novel Blackout/All Clear (2010) has extensive chapters about a time travelling character from the future, a historian named Merope (she takes on the persona of Eileen O'Reilly, an Irish maid), who intends to study the impact of evacuation on the children. When she becomes stranded in the past, she eventually adopts two bratty children to raise herself.

Non-fiction:

 * Out of Harm's Way by Jessica Mann (Headline Publishers 2005) tells the story of the overseas evacuation of children from Britain during the Second World War.
 * In Pam Hobbs's memoir Don't Forget to Write: the true story of an evacuee and her family (2009), a 10-year-old is evacuated in 1940 from Leigh-on-Sea, Essex to Derbyshire, where she lives with a number of families and encounters a range of receptions from love to outright hostility – and enormous cultural differences.
 * Alan Derek Clifton published his memories of being evacuated to Northern Rhodesia in 1940 in the book entitled, From Cockney to Colonial (And Back Again) (2010).
 * Ben Wicks's No Time to Wave Goodbye and The Day They Took the Children.
 * Britain's Wartime Evacuees by Gillian Mawson (Pen and Sword, 2016) shares the personal testimony of child and adult evacuees in Britain during the Second World War.
 * Guernsey Evacuees by Gillian Mawson (History Press, 2012) shares the personal testimony of Guernsey evacuees in Britain during the Second World War.

Other:

 * In the 20th Century Fox movie On the Sunny Side (1942), Roddy McDowall portrays an evacuated English boy who comes to live with an American family in Ohio.
 * Stephen Poliakoff's television drama Perfect Strangers (2001) includes a lengthy flashback of two evacuated sisters who leave the family they are sent to and live as wild children in the woods for the remainder of the war.
 * In the movie Bedknobs and Broomsticks (1971), the children are evacuated to Pepperinge Eye near the Dorset coast where they are taken in by a good witch-in-training.
 * In the movie The Woman in Black 2: Angel of Death (2014), the major plot of the film involves a headmistress and a teacher evacuating a group of children out of London. One of the children lost his parents in a Blitz.


text:
AJP

AJP or ajp may refer to:

 * American Journal of Philology, published by Johns Hopkins University Press
 * American Journal of Psychiatry, published by the American Psychiatric Association
 * American Journal of Psychology, published by the University of Illinois Press
 * American Journal of Physics, published by the American Association of Physics Teachers and the American Institute of Physics
 * American Journal of Physiology, published by the American Physiological Society
 * Asian Jake Paul, single by American Youtuber IDubbbz
 * Australasian Journal of Philosophy, published by the Australasian Association of Philosophy
 * AJP Motos, a Portuguese motorcycle brand
 * Animal Justice Party, a political party in Australia focusing on animal rights
 * Apache JServ Protocol, protocol for computer servers
 * All Japan Pro Wrestling, Japanese professional wrestling promotion
 * South Levantine Arabic (deprecated ISO 639-3 code)
 * AJP6 and AJP8, TVR engines
 * Assam Jatiya Parishad, political party in India

title: AJP


text:
Calcinosis cutis

Calcinosis cutis is an uncommon condition marked by calcium buildup in the skin and subcutaneous tissues. Calcinosis cutis can range in intensity from little nodules in one area of the body to huge, crippling lesions affecting a vast portion of the body. Five kinds of the condition are typically distinguished: calciphylaxis, idiopathic calcification, iatrogenic calcification, dystrophic calcification, and metastatic calcification.

Tumors, inflammation, varicose veins, infections, connective tissue disease, hyperphosphatemia, and hypercalcemia can all lead to calcinosis. Systemic sclerosis is linked to calcineuris cutis. Calcinosis is seen in Limited Cutaneous Systemic Sclerosis, also known as CREST syndrome (the "C" in CREST).

Signs and symptoms
Lesions might be more severe and widespread, or they can develop gradually and show no symptoms. The nodules may cause pain and hinder function in addition to having a variety of sizes and shapes. The underlying condition determines the localization of the lesions in dystrophic calcification. The elbows, fingers, knees, and forearms are the most often affected regions in people with systemic sclerosis. Elbows, knees, and regions of prior inflammatory lesions in dermatomyositis are affected by calcification. Lupus erythematosus affects the limbs, buttocks, area beneath lupus lesions, and periarticular areas. Periarticular lesions are found in metastatic calcification. In tumoral calcinosis, the lesions are found around joints, but in idiopathic calcification, the lesions are found on children's faces as subepidermal calcified nodules. In iatrogenic calcification, the calcification is found at venipuncture sites.

Causes
Calcinosis may result from a variety of causes such as:
 * Trauma to the region
 * Inflammation (bug bites, acne)
 * Varicose veins
 * Infections
 * Tumors (malignant or benign)
 * Diseases of connective tissue
 * Hypercalcemia
 * Hyperphosphatemia

Calcinosis cutis is associated with systemic sclerosis.

Classification
Calcinosis cutis may be divided into the following types:

Dystrophic calcinosis cutis
Dystrophic calcinosis cutis is the most prevalent kind of calcification on the skin. The ectopic calcified mass usually consists of amorphous calcium phosphate and hydroxyapatite. Dystrophic calcification is linked to a number of illnesses, such as infections, hereditary diseases, cutaneous neoplasms, and connective tissue diseases. The clinical manifestation can be as minor as an accidental radiography imaging finding or as severe as subcutaneous nodules or plaques.

Metastatic calcinosis cutis
Metastatic calcinosis cutis is the consequence of calcium salts precipitating in normal tissue due to an underlying abnormality in the metabolism of phosphate and/or calcium. Metastatic calcification can result from any systemic condition raising serum calcium and/or phosphate levels. Chronic renal failure is the most frequent underlying cause.

Iatrogenic calcinosis cutis
Iatrogenic calcinosis cutis is characterized by firm nodules in the subcutis or dermis, which are caused by calcium salts precipitating quickly in the skin. This occurrence typically manifests as a warm, sensitive swelling at the site of venipuncture, and it most frequently happens following the extravasation of intravenous calcium chloride, calcium gluconate, or phosphate-containing solutions. Iatrogenic calcification, which manifests as soft yellow-white epidermal plaques, has also been linked to calcium salt exposure via electroencephalography or electromyographic electrode compounds.

Traumatic calcinosis cutis
Traumatic calcinosis cutis is a cutaneous condition characterized by calcification of the skin resulting from the deposition of calcium and phosphorus often resulting from occupational exposure, as in cases reported in oil-field workers and coal miners.

Idiopathic calcinosis cutis
Skin calcification that is not linked to a systemic illness or an underlying tissue injury is referred to as idiopathic calcification. Most often, the calcification is restricted to a single general location, yet there has been one case of calcinosis cutis that is exceptionally broad.

Idiopathic scrotal calcinosis
Idiopathic scrotal calcinosis is a cutaneous condition characterized by calcification of the skin resulting from the deposition of calcium and phosphorus occurring on the scrotum. However, the levels of calcium and phosphate in the blood are normal. Idiopathic scrotal calcinosis typically affects young males, with an onset between adolescence and early adulthood. The scrotal calcinosis appears, without any symptoms, as yellowish nodules that range in size from 1 mm to several centimeters.

Subepidermal calcified nodule
Subepidermal calcified nodule is characterized by calcification of the skin resulting from the deposition of calcium and phosphorus, occurring most frequently as one or a few skin lesions on the scalp or face of children.

Tumoral calcinosis
Tumoral calcinosis is distinguished by the accumulation of calcific masses surrounding the main joints. It mainly affects teens who are otherwise in good health. Joint function may be hampered by the subcutaneous or intramuscular calcified deposits.

Osteoma cutis
Osteoma cutis is a cutaneous condition characterized by the presence of bone within the skin in the absence of a preexisting or associated lesion. Osteoma cutis often manifests as solid, varying-sized, skin-colored subcutaneous nodules.

Treatment
Diltiazem, a calcium channel blocker, has been a mainstay of medical treatment for calcinosis cutis. It is thought to work by modifying intracellular calcium levels, which reduces the capacity for the production and crystallization of calcium nidus.

Colchicine is an antimicrotubule drug with anti-inflammatory properties that has been used for gouty arthritis treatment for a long time. Calcinosis cutis inflammation brought on by a foreign body-like response aggravates the illness's symptoms. Colchicine, therefore, has been used to treat calcinosis cutis, albeit with varying degrees of success.

title: Calcinosis cutis


text:
User talk:Lawpjc

nothing here.

Quixotic plea
You are invited to join the discussion at Wikipedia talk:Wikipediholism test. Thanks. —  06:36, 23 May 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:51, 23 November 2015 (UTC)

title: User talk:Lawpjc


text:
User talk:Andrewtn~enwiki

Welcome to the Wikipedia
Welcome, newcomer!

Here are some useful tips to ease you into the Wikipedia experience:

 * First, take a look at the Wikipedia Tutorial, and perhaps dabble a bit in the test area.
 * When you have some free time, take a look at the Manual of Style and Policies and Guidelines. They can come in very handy!
 * Remember to use a neutral point of view!
 * If you need any help, feel free to post a question at the Help Desk
 * Explore, be bold in editing pages, and, most importantly, have fun!

Also, here are some odds and ends that I find useful from time to time:

 * Policy Library
 * Utilities
 * Cite your sources
 * Verifiability
 * Wikiquette
 * Civility
 * Conflict resolution
 * Brilliant prose
 * Pages needing attention
 * Peer review
 * Bad jokes and other deleted nonsense
 * Village pump
 * Boilerplate text

Feel free to ask me anything the links and talk pages don't answer. You can most easily reach me by posting on my talk page.

You can sign your name on any page by typing 4 tildes, likes this: ~~~~.

Best of luck, and have fun!

ClockworkTroll 17:50, 12 Oct 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Andrewtn. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Andrewtn~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 21:55, 19 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 10:28, 22 April 2015 (UTC)

title: User talk:Andrewtn~enwiki


text:
User talk:Kliv~enwiki

Welcome to the Wikipedia
Welcome, newcomer!

Here are some useful tips to ease you into the Wikipedia experience:

 * First, take a look at the Wikipedia Tutorial, and perhaps dabble a bit in the test area.
 * When you have some free time, take a look at the Manual of Style and Policies and Guidelines. They can come in very handy!
 * Remember to use a neutral point of view!
 * If you need any help, feel free to post a question at the Help Desk
 * Explore, be bold in editing pages, and, most importantly, have fun!

Also, here are some odds and ends that I find useful from time to time:

 * Policy Library
 * Utilities
 * Cite your sources
 * Verifiability
 * Wikiquette
 * Civility
 * Conflict resolution
 * Brilliant prose
 * Pages needing attention
 * Peer review
 * Bad jokes and other deleted nonsense
 * Village pump
 * Boilerplate text

Feel free to ask me anything the links and talk pages don't answer. You can most easily reach me by posting on my talk page.

You can sign your name on any page by typing 4 tildes, likes this: ~~~~.

Best of luck, and have fun!

ClockworkTroll 17:50, 12 Oct 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Kliv. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Kliv~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 00:58, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 15:02, 22 April 2015 (UTC)

title: User talk:Kliv~enwiki


text:
Microsoft Macro Assembler

The Microsoft Macro Assembler (MASM) is an x86 assembler that uses the Intel syntax for MS-DOS and Microsoft Windows. Beginning with MASM 8.0, there are two versions of the assembler: One for 16-bit & 32-bit assembly sources, and another (ML64) for 64-bit sources only.

MASM is maintained by Microsoft, but since version 6.12 it has not been sold as a separate product. It is instead supplied with various Microsoft SDKs and C compilers. Recent versions of MASM are included with Microsoft Visual Studio.

Notable applications compiled using MASM are RollerCoaster Tycoon which was 99% written in assembly and built with MASM.

History
The earliest versions of MASM date back to 1981. They were sold either as the generic "Microsoft Macro Assembler" for all x86 machines or as the OEM version specifically for IBM PCs. By Version 4.0, the IBM release was dropped. Up to Version 3.0, MASM was also bundled with a smaller companion assembler, ASM.EXE. This was intended for PCs with only 64k of memory and lacked some features of the full MASM, such as the ability to use code macros.

MS-DOS versions up to 4.x included Microsoft's LINK utility, which was designed to convert intermediate OBJ files generated by MASM and other compilers; however, as users who did not program had no use of the utility, it was moved to their compiler packages.

Version 4.0, released October 1985, added support for 286 instructions.

Version 5.0, released August 1987, supported 386 instructions, and also shorthand mnemonics for segment descriptors (.code, .data, etc.), but it could still only generate real mode executables.

Through version 5.0, MASM was available as an MS-DOS application only. Versions 5.1 and 6.0 were available as both MS-DOS and OS/2 applications.

Version 6.0, released in 1991, added parameter passing with "invoke" and some other high level-like constructs, in addition to the already existing high level-like records, among other things. Both 6.0 and 6.0B were able to be run on an 8086 processor but could generate flat 32 bit 386 code. In 1992, 6.1 was released, which added support for the COFF object format used by Windows NT, and removed support for OS/2. 6.1 was built as a bi-modal binary before the Win32 API was finalized, and is incompatible with running on Windows NT due to missing exports.

In 1993 full support for protected mode 32-bit applications and the Pentium instruction set was added. The 6.11 MASM binary at that time (1993) was shipped as a "bi-modal" (win32, i.e. PE) DOS-extended binary (using the Phar Lap TNT DOS extender). However, the setup.exe is an MZ executable so won't run under 64-bit versions of Windows, and the bi-modal ml.exe is compressed, and the decomp.exe is an NE executable, so also won't run under 64-bit versions of Windows (if you were hoping to manually extract the required ml.exe and ml.err), so you effectively need access to 32-bit Windows (or MSDOS) in order to install it. Version 6.11 is the last version of MASM that will run under MS-DOS. There were a series of patches available, up to 6.11d, that need 32-bit Windows to run, but the patched ml.exe still has the Phar Lap dos extender so can still be run under MSDOS.

Versions 6.12 to 6.14 were implemented as patches for version 6.11. These patches were self-extracting PK executables (i.e. MSDOS), so won't run under 64-bit Windows. Even if you extract them by other means, the patch.exe is an NE executable so won't be able to run on 64-bit Windows to update ml.exe either. If you do run on a 32-bit Windows (or earlier), patch will strip the Phar Lap dos extender from ml.exe so it can no longer be run on MSDOS. The stripping of Phar Lap makes the MZ portion of the executable smaller, so that the "PE" signature is more easily visible, unlike the situation with 6.11 where the PE signature was a long way into the file.

By the end of 1997, MASM fully supported Windows 95 and included some AMD-specific instructions.

In 1999, Intel released macros for SIMD and MMX instructions, which were shortly thereafter supported natively by MASM. With the 6.15 release in 2000, Microsoft discontinued support for MASM as a separate product, instead subsuming it into the Visual Studio toolset. Though it was still compatible with Windows 98, current versions of Visual Studio were not. Support for 64-bit processors was not added until the release of Visual Studio 2005, with MASM 8.0.

After 25 June 2015, there are at least three different MASMs with the version number 14.00.23026. In Microsoft Visual Studio 2015 Enterprise Edition, there is one "amd64_x86" ml and two ml64s, "x86_amd64" and "amd64". They run on different platforms targeting different platforms:
 * amd64_x86: generates 64-bit code, runs in a Windows 32-bit environment
 * x86_amd64: generates 32-bit code, runs in a Windows 64-bit environment
 * amd64:    generates 64-bit code, runs in a Windows 64-bit environment

Object module formats supported by MASM
Early versions of MASM generated object modules using the OMF format, which was used to create binaries for MS-DOS or OS/2.

Since version 6.1, MASM is able to produce object modules in the Portable Executable (PE/COFF) format. PE/COFF is compatible with recent Microsoft C compilers, and object modules produced by either MASM or the C compiler can be routinely intermixed and linked into Win32 and Win64 binaries.

Assemblers compatible with MASM
Some other assemblers can assemble most code written for MASM, with the exception of more complex macros.

 * Turbo Assembler (TASM) developed by Borland, later owned by Embarcadero, last updated in 2002, but still supplied with C++Builder and RAD Studio.
 * JWasm Macro Assembler, licensed under the Sybase Open Watcom EULA. Last updated in 2014.
 * Pelle's Macro Assembler, a component of the Pelles C development environment.
 * UASM is a free MASM-compatible assembler based on JWasm.
 * ASMC is a free MASM-compatible assembler based on JWasm.

Mixed language programming support
Documentation for 1987's version 5.1 included support for "Microsoft BASIC, C, FORTRAN, Pascal."

title: Microsoft Macro Assembler


text:
User talk:Pink18

Stuff

 * Mark dead links with:

Welcome to the Wikipedia
Welcome, newcomer!

Here are some useful tips to ease you into the Wikipedia experience:

 * First, take a look at the Wikipedia Tutorial, and perhaps dabble a bit in the test area.
 * When you have some free time, take a look at the Manual of Style and Policies and Guidelines. They can come in very handy!
 * Remember to use a neutral point of view!
 * If you need any help, feel free to post a question at the Help Desk
 * Explore, be bold in editing pages, and, most importantly, have fun!

Also, here are some odds and ends that I find useful from time to time:

 * Policy Library
 * Utilities
 * Cite your sources
 * Verifiability
 * Wikiquette
 * Civility
 * Conflict resolution
 * Brilliant prose
 * Pages needing attention
 * Peer review
 * Bad jokes and other deleted nonsense
 * Village pump
 * Boilerplate text

Feel free to ask me anything the links and talk pages don't answer. You can most easily reach me by posting on my talk page.

You can sign your name on any page by typing 4 tildes, likes this: ~~~~.

Best of luck, and have fun!

ClockworkTroll 17:50, 12 Oct 2004 (UTC)

A tag has been placed on Norton (rock band), requesting that it be speedily deleted from Wikipedia. This has been done because the article seems to be about a person, group of people, band, club, company, or web content, but it does not indicate how or why the subject is notable: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, articles that do not assert the subject's importance or significance may be deleted at any time. Please see the guidelines for what is generally accepted as notable.

If you think that you can assert the notability of the subject, you may contest the deletion. To do this, add  on the top of the page (just below the existing speedy deletion or "db" tag) and leave a note on the article's talk page explaining your position. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the article that would confirm the subject's notability under Wikipedia guidelines.

For guidelines on specific types of articles, you may want to check out our criteria for biographies, for web sites, for bands, or for companies. Feel free to leave a note on my talk page if you have any questions about this. LittleOldMe 09:38, 21 May 2007 (UTC)

 * I never deleted the article, I do not have the ability since I am not an administrator. Similarly, I do not have the ability to reinstate a deleted article. What you could do is request a deletion review.

 * Alternatively, re-create the page, but this time make sure that the article is referenced properly so that it is not marked for deletion again. Regards LittleOldMe 10:16, 21 May 2007 (UTC)

title: User talk:Pink18


text:
Vire

Vire is a town and a former commune in the Calvados department in the Normandy region in northwestern France. On 1 January 2016, it was merged into the new commune of Vire Normandie.

Geography
The town is located on the river Vire. Much of its surroundings consist of the bocage virois, a type of mixed woodland and pasture common in Normandy.

History
In 1123, King of England and Duke of Normandy Henry I had a redoubt constructed on a rocky hill top, which was surrounded by the Vire river. The redoubt was stoned square at the bottom to assure the defense of the Duchy of Normandy against any attacks from Brittany or Maine. At the beginning of the 13th century, King Louis IX of France ordered that the existing stonework be supplemented with exterior ramparts. However the second precinct was finished only in the early the 14th century.

At the end of the Middle Ages, the village prospered first with leather and then with textiles During the Hundred Years' War, Vire was plundered in 1368 by large military companies, and delivered to the English in 1418. The English occupation would end in 1450, with many considering it a time of brutality and oppression. Notably, the execution of Hugues Vaux, owner of the largest farm of the village, after refusing to give up his farm to the English sergeant Fields, caused much grief among the population. Some inhabitants nevertheless benefited from the English occupation. Eugène Vergny, who provided Fields with information about the movement of the French troops, received the property of Vaux after his execution.

During the reign of Louis XIII of France, because a number of Fortifications of the Middle Ages served in rebellions by the Huguenots in particular, the castle and its precinct were dismantled on orders of Richelieu.

During the 19th century, the village did not respond well to the Industrial Revolution and went into an important recession.

The castle of Tracy, the manor of 19th-century the French historian Arcisse de Caumont, can be found just north of Vire in the old community of Neuville.

Like many other Norman cities and villages, Vire suffered heavily from British bombings on June 6, 1944, or D-Day, during the Second World War. 95% of the town was destroyed. One of the two target marking flare groups was out of alignment and much of the bombing fell across the town of Vire. The Master Bomber in charge of the operation identified the problem and issued corrections to the incoming aircraft. Much of the bombing from the first wave of aircraft fell across the town of Vire killing many of the inhabitants. It was a distressing night for many families.

The reconstruction of Vire began in the 1960s.

Administration
In 1953, Vire was merged with the former commune of Neuville. In 1972, Vire was merged with the former commune of Saint-Martin-de-Tallevende. Since January 2016, it is a delegated commune within the commune Vire Normandie. Vire is part of the canton of Vire Normandie.

Transport
Vire has a large railway station (Gare de Vire) which has frequent services to Paris and Granville. The nearest airport is Caen – Carpiquet Airport in Caen (40 min drive).

Vire is connected to Saint-Lô and Cherbourg-en-Cotentin via RN 174 and to Caen via RD 577 and A84. Vire is also connected to Granville, Villedieu-les-Poêles, Flers, Argentan, Dreux and Paris via RD 924.

Gastronomy

 * Andouille, a speciality of Vire.

International relations
Vire is twinned with:

Personalities

 * Olivier Basselin (c. 1400 – c. 1450, poet.
 * Charles-Julien Lioult de Chênedollé (1769–1833), poet
 * Jean-Baptiste du Hamel (1624–1706), physicist
 * Henry I of England (c. 1068–1135)
 * Raymond Lefebvre (1891–1920), writer
 * Francis Letellier (born 1964), journalist
 * Thomas Pichon (1700–1781), government agent and traitor

title: Vire


text:
User talk:Pikelet

Welcome to the Wikipedia
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title: User talk:Pikelet