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Telltale Games

Telltale Incorporated (trade name: Telltale Games) was an American video game developer based in San Rafael, California. The company was founded in July 2004 by former LucasArts developers Kevin Bruner, Dan Connors and Troy Molander, following LucasArts' decision to leave the adventure game genre. Telltale established itself to focus on adventure games using a novel episodic release schedule over digital distribution, creating its own game engine, the Telltale Tool, to support this. It closed in October 2018 after filing for bankruptcy protection.

Telltale's initial successes were on games using intellectual properties with small but dedicated fan bases, including Sam & Max, Wallace & Gromit, Homestar Runner, and Bone. Around 2010, the studio gained more lucrative licensing opportunities in more mainstream properties such as Back to the Future and Jurassic Park. Telltale's critical breakout game came in 2012's The Walking Dead, based on the comic book series of the same name. It introduced a more narrative-directed approach that diverged from the standard adventure game "point and click" gameplay. The Walking Dead gave the player the ability to make choices that could affect how future events in the game or its sequels played out, effectively allowing players to craft their own personalized take on the offered story. Nearly all of Telltale's adventure games afterwards featured this player choice-driven approach. The Walking Dead was critically praised and considered to have revitalized the adventure game genre since LucasArts' departure from it in 2004.

Telltale continued to expand with new licensing deals for episodic adventure games over the next few years, including for Minecraft, Game of Thrones, Guardians of the Galaxy, and Batman, but the rate of production created a "crunch time" culture behind the scenes, leaving poor company morale, little room for creativity to veer from the formula set by The Walking Dead or improvements on the Telltale Tool. A management shakeup occurred in early 2017, with CEO Bruner stepping down, and Pete Hawley, formerly of Zynga, brought in to fix Telltale's problems. Internal restructuring led to a layoff of 25% of the company's staff in November 2017, along with an emphasis to slow down game production to improve production quality, retire the Telltale Tool for a more standard game engine, and seek other lucrative properties to develop for. This resulted in an early 2018 deal with Netflix in which Telltale would adapt its Minecraft: Story Mode into an interactive program for the streaming service, and Netflix licensing the rights to Telltale for an adventure game based on its show Stranger Things.

In the midst of releasing The Walking Dead: The Final Season, the company was forced to initiate a "majority studio closure" after their last investor had pulled out of funding. Telltale announced on September 21, 2018, that it had let go of all but 25 of its staff as part of this closure, with the remaining skeleton crew completing specific obligations, such as finishing the Minecraft: Story Mode project porting to Netflix. Telltale Games filed for assignment in October 2018. Many assets were later acquired by LCG Entertainment, which revived the Telltale Games name as part of its business in August 2019, retaining many of the company's previous licenses and offering former staff freelance positions.

Foundation and initial growth (2004–2010)
Telltale Games was founded in San Rafael, California, by Kevin Bruner, Dan Connors and Troy Molander, a group of former LucasArts employees who worked on the studio's adventure games. In March 2004, LucasArts recognized that there were "current market place realities and underlying economic considerations" that made adventure games too risky to release, and canceled work on two sequels of previous adventure games, Full Throttle 2 and Sam & Max: Freelance Police, as well as laying off many of those developers. Bruner, Connors and Molander were not among the layoffs, but felt that the change of direction at LucasArts was not favorable, and departed the company later that year to found Telltale Games July 2004. The studio opening was announced on October 4. The name "Telltale" was selected by Bruner as the three envisioned themselves creating more adventure games but de-emphasizing puzzle elements in favor of narrative aspects, telling a tale to the user. Technology attorney Ira P. Rothken negotiated publishing and licensing deals for the company.

The company's initial goal was to develop a new Sam & Max game in an episodic format. Grossman said that Telltale identified that Sam & Max had a small but dedicated audience allowing them to develop a title that would be successful in reaching out to this group and not requiring them to seek out a bigger license that would have incurred more development costs. Developing a Sam & Max game required both development of tools to produce the game, and the license to make it. At the time of the studio's founding, the license for Sam & Max was still held by LucasArts, who refused to negotiate a deal nor license the work on Sam & Max: Freelance Police for Telltale to complete it. Telltale waited out the licensing period until around mid-2005, after which Steve Purcell, Sam & Max's creator, immediately offered the license to Telltale.

Until they could get to that point, the studio developed other games to bring in revenue and keep the studio afloat. On February 11, 2005, the company released their first game, Telltale Texas Hold'em, a poker card game simulator which was intended primarily to test the Telltale Tool, their in-house game engine. They used the license around Jeff Smith's Bone comic book series to test the episodic format. Though initially planned for a five-episode series, Telltale only released two episodes in 2005 and 2006 and the remaining episode had been canceled. Alongside Bone, Telltale developed a series of games for Ubisoft around the CSI television series, including CSI: 3 Dimensions of Murder, CSI: Hard Evidence, CSI: Deadly Intent, and CSI: Fatal Conspiracy; though these games were also developed as episodes, they were each released in single packages. Outside of Ubisoft, few other publishers were interested in distributing Telltale's early games, forcing them to turn to their own distribution system.

Once they had secured the rights to Sam & Max, Telltale set about to making this game with an episodic approach, with episodes planned to be released on a tight monthly basis through their partner, GameTap. Sam & Max: Season One was considered a success for the company, and considered one of the first successful demonstration of an episodic release in video games. The success led to additional funding through two rounds of angel investment, including Matthew Le Merle and members of angel group Keiretsu Forum. The studio created a second season for Sam & Max, and found additional niche intellectual property areas, including Wallace & Gromit and Homestar Runner, to continue the episodic adventure game format. When Darrell Rodriguez became CEO of LucasArts in 2008, he wanted to see the old LucasArts adventure properties flourish, leading to a license for Telltale to create a new game in the Monkey Island series, Tales of Monkey Island. Telltale was also able to expand their release platforms beyond personal computers, with releases of these games on various consoles at the time.

To supplement their normal episodic games, Telltale created a pilot program in early 2010 to explore one-off games that would explore other gameplay and storytelling approaches that could eventually be incorporated into their episodic games. The first game, Nelson Tethers: Puzzle Agent, a puzzle-solving game in collaboration with Graham Annable, was released in June 2010, while Poker Night at the Inventory, a crossover poker game featuring characters from Sam and Max, Homestar Runner, Valve's Team Fortress 2, and the webcomic Penny Arcade, was released late in 2010. Telltale followed up Puzzle Agent with a sequel, Puzzle Agent 2, in 2011. In 2013, Telltale continued the series with Poker Night 2. The Walking Dead started out as a pilot program game that was known internally as the "zombie prototype". In general, few of these games brought in large revenues, and until 2010, the founders feared that investors would suddenly pull out of the company and would force its closure.

Major franchise acquisitions (2010–2016)
Having established themselves as working with comedy franchises, Telltale chose to work with dramatic franchises as well as comedy series. In June 2010, Telltale announced that they had secured licenses with NBC Universal to develop two episodic series based on Back to the Future and Jurassic Park. Notably, Telltale's Jurassic Park: The Game was the first game to break away from the standard adventure game format, including elements like quick time events and time-limited choices which would become a core gameplay element in their future adventure games. Telltale obtained the license from NBC Universal to develop episodic series around the Law & Order franchise in April 2011.

By 2010, Telltale had proven itself successful, with yearly revenues of $10 million, 90% greater than the previous year. Part of this was attributed to Back to the Future: The Game, which Steve Allison, the senior vice-president (VP) of marketing, called in 2011 their "most successful franchise to date". Allison stated that for most of their games, they only need to sell 100,000 copies to break even, but many of their recent releases have seen twice that number or more. The studio expanded from 90 to 140 employees. They had obtained a license in 2011 to develop a King's Quest adventure game based on the original Sierra games, but Activision took back the rights in 2013, which were subsequently used by The Odd Gentlemen to create their 2015 episodic King's Quest game.

Telltale's breakthrough success came with the licenses of the comic book series The Walking Dead and Fables in association with Warner Bros. Interactive Entertainment in 2011. Allison anticipated that The Walking Dead series could be a $20 to $30 million franchise. Their The Walking Dead video game presented an alteration of Telltale's approach, as rather than a traditional adventure game where players would need to solve puzzles, The Walking Dead was more focused on providing a cinematic experience but presenting choices to the player, either through dialog trees or through quick time events, that would create "determinants" that would feed into latter parts of the episode and into future episodes; one example would be deciding which of one of two characters to save from a zombie attack at the spur of the moment. While these decisions do not have a direct impact on the game's overall narrative and structure, it provides a more personalized story around what decisions the player had made. This format proved highly successful: the game sold one million copies in 20 days, exceeded 8.5 million episode purchases by 2013, and an estimated $40 million in revenue. The success led to two additional 5-episode seasons, a 3-episode mini-season and a final 4-episode season. The Walking Dead is considered to have revitalized the waning adventure game genre due to this more emotionally driven focus. Since The Walking Dead, nearly all of Telltale's games have used a similar approach of being built around the impacts of the player's choices as determinants in later episodes and seasons.

Telltale has had several other licensing details from popular works, including Tales from the Borderlands based on the Borderlands series by Gearbox Software, and Game of Thrones, based on the HBO television show adaption, Minecraft: Story Mode based on the Mojang game, Minecraft, Batman from DC Comics, and Guardians of the Galaxy: The Telltale Series from Marvel Comics. On retrospective after the studio's closure, former employees of Telltale believed that the studio's expansion into all these additional licensed properties were trying to replicate the success of The Walking Dead, moving the company from a risk-taker to seeking risk aversion strategies. This was also propagated by the weight of the licensed properties: they had taken more conservative approaches to deliver a game that mirrored The Walking Dead, a well-known product, rather than take risks and potentially lose the license.

Telltale relocated to a larger space and expanded from 125 to 160 in mid-2013. Around 2015, the company had grown to 200 to 250 employees. The company continued to grow, at its peak having about 400 employees in mid-2017. In the midst of this growth, in 2014–2015, the management of Telltale recognized the need to restructure to handle more projects and more staff. This led to original chief executive officer (CEO) Dan Connors resigning and being replaced by co-founder Kevin Bruner, who was also the firm's president. Connors noted that with the studio's continued growth, it had begun experiencing growth-specific challenges. Connors stated that Bruner's ascension to CEO would best enable Telltale Games to act on future expansion opportunities. Connors remained on the board of directors, and also served as a creative consultant. Internally, there were concerns about this transition and Brunner's influence on it; an anonymous quality control (QC) employee writing in Gamasutra after the firm's closure called this transition "the beginning of the end" for Telltale.

With Bruner's placement as CEO in January 2015, Telltale said it was developing a game based on its own intellectual property as a result of this leadership change.

In February 2015, Lionsgate announced an investment within Telltale Games to produce a number of "Super Shows", a hybrid interactive work combining television and video game elements, which would be distributed through non-traditional channels such as through streaming services. The first Super Show planned was an original intellectual property (IP) developed by Telltale that would be able to take advantage of this format. Telltale also announced that Lionsgate CEO Jon Feltheimer and Unity Technologies CEO John Riccitiello joined Telltale's board of directors. Alongside this, Lionsgate had invested US$40 million into Telltale. The "Super Show" concept never got out of pre-production, due to issues that arose with the studio in 2016 and 2017, according to Variety.

Restructuring (2017–2018)
By 2016, Bruner said that the Telltale studio had established an environment to be able to work on four major titles simultaneously with room for various side projects. However, this approach to development had created a perpetual state of "crunch time" within Telltale, according to several current and former staff speaking to USgamer, The Verge, and Variety in 2017. This limited the amount of time that the creators and developers could spend on content in order to maintain a consistent flow of episodes to consumers but impacted the quality of games. There was a perpetual drive to release new episodes on a regular basis, whether they were good or not, so that the company had a continued source of income. This particularly affected the Telltale Tool, the game engine used since the company's inception, which caused numerous bugs in released episodes that Telltale became infamously noted for. The anonymous QC tester stated that their department was nearly always under crunch time, working from 48 to 60 hours a week on testing at least two-game series across multiple platforms simultaneously, and were understaffed, leading to some of the quality control issues as well. During this time, the eighth generation of video game consoles emerged, and while the Telltale Tool was ported to these platforms, it showed its age in graphics quality, which also diminished Telltale's products. There was also a new trend of major AAA titles focusing more on emotional story-telling, such as God of War, which Telltale would not easily be able to compete with.

The company was also hobbled by working with established IP, and inconsistencies in the reviewing process with management that led to last-minute reworking of some episodes. The Verge also found some of the employees they spoke to had stated that top-level executives, including Bruner, had become fixated on the format that The Walking Dead presented, making decisions that prevented developers from looking at alternative formats or variations from this formula, stifling creativity and leading to several staff departures prior to the 2017 layoffs. According to narrative designer Emily Grace Buck, management would frequently demand rewrites of materials, with most games having between 60 and 90 percent of the content reworked after executive review. Bruner and management created a "culture of fear" of demotion or firing among developers. Some of these rewrites had come days prior to an episode's submission date for certification, creating hasty rewrites that filtered through the entire production process. This rush created some of the apparent "bugs" in the Telltale Tool which Buck stated were more often a result of the inability to smooth out hastily reworked animations as well as perpetuating the crunch time culture within the company. Other cases of narrative rewrites were a result of different expectations by some of the executive management. Buck stated that they had originally been driven by management to make Minecraft: Story Mode as a more mature game, but eventually reworked this to a family-friendly title, while for their Guardians of the Galaxy game, the storywriters had written a story they felt more true to the humor and wit of the source material, but were told by management to make a darker story. Further, anonymous sources from Telltale stated that very few of the games were profitable, with only The Walking Dead: The First Season, Minecraft: Story Mode, and revenues from publishing 7 Days to Die turning a profit. Batman: The Telltale Series, released in 2016 was said to be one of the worst commercial failures for the company.

On March 15, 2017, Bruner announced he had stepped down as CEO of Telltale, though Variety reported that he had been voted out of this position by the board of directors. Bruner turned the day-to-day operations to Connors, while still remaining on the board of directors. Bruner said "The time has come to pass the reins to someone that can better drive Telltale to the next level and realize all the potential that is here." Pete Hawley, the former VP for Games at Zynga, was announced as the new CEO, with Connors remaining on its Board and acting in an advisory role. Rather than other corporate "fixers" who take control of a company for a temporary period to help it regain its financial footing, Hawley had committed to staying with Telltale after helping the company to get past these problems.

In November 2017, a restructuring of the company cut about 90 positions, about a quarter of their staff, which was not expected to affect the release of any existing projects. Hawley said that the restructuring was for "reorienting our organization with a focus on delivering fewer, better games with a smaller team". While Telltale had not stated which positions were let go in the restructuring, sources speaking to USgamer stated that most were part of the management structure that led to these problems; coupled with Hawley's appointment as CEO, this was expected to be a turning point to help revitalize Telltale.

In June 2018, Bruner filed a lawsuit against Telltale in relation to his departure, citing financial damages as he had been seemingly removed from the Board of Directors, and thus could not gain information related to Telltale's financial status in anticipation of selling off a portion of his shares in the company. Telltale stated the claims were "meritless". In its response to Bruner's lawsuit, Telltale stated that the company "is now working to turn around the decline that it experienced under [Bruner]'s stewardship". Kent Mudle, the creative director for The Walking Dead: The Final Season, stated that the new management had shown a great deal of effort to turn the studio around from the previous uses, with the executives staying more hands-off and reducing the amount of micromanagement of the creative teams.

In June 2018, Telltale announced a partnership with Netflix for the streaming service to provide its games to subscribers, with the first planned game being Minecraft: Story Mode. Alongside this, Telltale announced that they were working on a yet-untitled game based on Netflix's original property, Stranger Things. According to Variety, there had been suggestions of teaming with Netflix for collaboration shortly after Stranger Things first aired in mid-2016, but Telltale's management at the time, including Bruner, rejected the idea. The Netflix partnership solidified after Hawley took over as CEO. The Stranger Things game would have been used to bridge the show's story between its second and third season. In addition to this game, Telltale had started working with Night School Studio in 2017 for them to make a first-person, narrative driven game that would have led into Telltale's game. However, Night School reported difficulty in cooperating with Telltale over 2018 and were also surprised by the studio's sudden closure.

Majority studio closure and aftermath (2018)
On September 21, 2018, CEO Pete Hawley announced that Telltale was undergoing a "majority studio closure", with around 90% of its present workforce (225 to 250 employees) let go that day. A core team of about 25 employees remained to "fulfill the company's obligations to its board and partners", which includes completing the Minecraft: Story Mode interactive media project for Netflix. According to Dan Connors, the studio had been ready to close another round of financing when their last major investor pulled out. The company executives had to make the decision to end all production as soon as possible without this investment. While Connors did not specify which investor pulled out, Variety suggested that this may have been Lionsgate, which had contacted Telltale's board the previous week about its intent to pull out of funding Telltale in order to return to its core film business. Variety also reported that AMC Networks, which owns the rights to The Walking Dead television series, and Smilegate, a Korean mobile games publisher, were looking to invest in Telltale, but both pulled out the day before Telltale's closure announcement. Dan Murray, president of Skybound Interactive which was working with Telltale for The Walking Dead games, said "We knew some of the challenges Telltale was facing, but when the news hits so suddenly everyone was taken off guard", while anonymous Telltale employees stated to The Verge that they had known the company was in financial trouble in the months leading up to the closure and was further hurt by leaks of news related to the Netflix deal, which management wanted to use as a lure for speculative investors.

In a press release, Hawley stated: "It's been an incredibly difficult year for Telltale as we worked to set the company on a new course. Unfortunately, we ran out of time trying to get there. We released some of our best content this year and received a tremendous amount of positive feedback, but ultimately, that did not translate to sales. With a heavy heart, we watch our friends leave today to spread our brand of storytelling across the games industry."

Those who were let go reported they were given no warning, had to leave the office building within 30 minutes of the company's decision, received no severance, and only had a limited amount of time on their health care benefits. Melissa Hutchison, the voice actor for Clementine in The Walking Dead games, said that the news came in the middle of a recording session which they had to immediately end. On September 24, the former staff were allowed to return to the office within a three-hour timeframe to gather any belongings they did not manage to collect in the 30 minutes following the majority closure decision. The suddenness of the closure, along with the lack of post-layoff support for the employees, led to renewed discussions about the need for video game developers to unionize, with the Game Workers Unite grassroots movement calling the treatment of the Telltale employees "exploitative". On September 24, 2018, a class-action lawsuit was filed by former Telltale employee Vernie Roberts, representing about a total of 275 Telltale employees, alleging that Telltale violated the federal Worker Adjustment and Retraining Notification Act of 1988 (WARN Act) and the more stringent requirements set by California of requiring at least 60 days notification before issuing mass layoffs.

Telltale did not officially comment on the status of its in-progress games, including The Wolf Among Us: Season Two, Game of Thrones: Season Two, and the untitled Stranger Things project, but laid-off employees alleged that teams working on these games had all been let go. On September 24, Netflix announced that it is "in the process of evaluating other options for bringing the Stranger Things universe to life in an interactive medium." It also confirmed that it plans to go ahead with releasing Minecraft: Story Mode as planned. The first three episodes of Minecraft: Story Mode were subsequently released on Netflix on November 27, and the remaining two were released that December.

Telltale released the second of four planned episodes of The Walking Dead: The Final Season as scheduled on September 25, 2018, and stated that it had been contacted by "multiple potential partners" to help bring the last two episodes of the series to completion in some manner. While some fans of the series were happy about the news, others, including Cory Barlog, suggested that Telltale should prioritize finding ways to pay the let-go developers over finishing the game. Two anonymous sources speaking to Ethan Gach of Kotaku clarified that Telltale was trying to convince potential development partners to hire the staff Telltale had laid off, so that the staff could remotely finish the two remaining episodes of The Walking Dead: The Final Season. During the 2018 New York Comic Con, Robert Kirkman, the creator of The Walking Dead comic, stated that his production company Skybound Entertainment had completed negotiations with Telltale to finish the last two episodes of The Final Season through their Skybound Games division and with the original development team from Telltale.

On October 4, 2018, narrative designer Rachel Noel stated that her team within the skeleton crew was also laid off, and that there were "not many" people left at the company. Telltale saw assignment proceedings begin on October 11, 2018, working through Sherwood Partners to liquidate all remaining assets; the company remains in assignment as of April 2019. Various digital storefronts started removing Telltale products from their marketplaces by that November. For some of these removed games, after rights were returned, the original company was able to rerelease the titles through a new publisher; for example, Skybound republished all four seasons of The Walking Dead as one collection, The Walking Dead: The Telltale Definitive Series, in September 2019, while Gearbox Software rereleased Tales from the Borderlands in February 2021.

Relaunch under LCG Entertainment (2018–present)
Following negotiations with Sherwood Partners starting in February 2019, LCG Entertainment acquired several key Telltale assets and on August 28, 2019, announced that it was re-launching the company by assuming "Telltale Games" as its trade name, operating out of Malibu, California, with a satellite studio in Corte Madera, California. Under the leadership of founders Jamie Ottilie (chief executive officer) and Brian Waddle (chief revenue officer), the new Telltale is set to re-release the old Telltale's back-catalog, as well as work on new games based on Telltale-affiliated properties. While licenses for games and planned games like The Walking Dead and Stranger Things have since reverted to their original owners, the new Telltale retains licenses for The Wolf Among Us and Batman, as well as the intellectual property for Puzzle Agent. The new Telltale was expected to start small for the first six months to regain distribution channels, and the company has offered former staff of the old Telltale freelance roles within the company with the potential for full-time positions at a later point in time. Partners in the new Telltale include publisher Athlon Games, which will handle distribution, and financial contributors Chris Kingsley, Lyle Hall and Tobias Sjögren. None of the newly involved parties had previously worked with the old Telltale. The first game under this new company was a re-release of Batman: The Telltale Series, adding in a new noir-style shader among other fixes, which was released in December 2019. The company also announced The Wolf Among Us 2 at The Game Awards 2019. The sequel is being made in partnership with Ad hoc Studios, a company composed of former Telltale employees who worked on the first game.

Former employees of the original Telltale were skeptical of LCG's approach to the relaunch of Telltale, considering that offering only freelance work while in San Francisco, which has one of the highest costs-of-living in the country, is risky. Others have urged LCG to pay off its existing Telltale debt to its former employees, while others have called for a boycott of any game from the new Telltale. As of 2022, roughly 50 percent of the company's staff is made up of former Telltale employees.

Development model
Telltale Games released video games in episodic installments. It is seen by production studios and other content producers to take a more realistic approach to movie tie-in games rather than the difficult "see the movie, play the game" model, and also collaborates with studios and screenwriters to create a strong experience that pays homage to the original film or franchise. In a September 2017 interview, Job Stauffer called Telltale's role as "an interactive TV network and a studio", able to produce content across a wide range of genres on a regular basis. He considered their studio something between a video game developer and a cable or streaming network with production capabilities like HBO or Netflix.

In general, Telltale offered its games as a one-time "season pass" purchase for the game's season when the first episode of the season was released, with the user then entitled to all planned episodes for that season. For digital purchases, this entitlement was handled through the digital storefront. In retail, Telltale published complete seasons after the season's digital release was over, but also adopted a model where they could publish, at the same time as the digital release, a retail disc that contains the first episode. The disc included a "season pass" entitlement to the remaining episodes to be digitally downloaded, tied to the disc itself rather than the user. This allowed for trading or resale of the retail product that can be played by others, which according to Stauffer, makes for a "nice in-between" market model that satisfies players, retailers, and themselves. For some of their games, Telltale developed additional downloadable content, such as 400 Days for The Walking Dead, or three additional episodes for Minecraft: Story Mode Season 1, which must be purchased separately from the season pass.

With Batman: The Telltale Series and most of their subsequently released episodic adventure games, Telltale added a "Crowd Play" feature that can be used by those that stream their playthroughs on services like Twitch. Through Crowd Play, viewers can vote for an option for the streamer to select.

While mainly a developer, Telltale also verified its self-publishing ethos; the only classic developer-publisher relationship was with Ubisoft for the CSI video game franchise. They have struck financial arrangements with GameTap for the first two seasons of the rebooted Sam & Max games, but their publishing arrangements have been chiefly made after the games were already completed and had already been sold via digital distribution.

Telltale aimed to present itself on as many digital platforms and avenues as possible. It has released games through GameTap; on Microsoft Windows and OS X, through Steam and similar services, plus its own online store, on Wii via WiiWare and disc, on Xbox 360, via Xbox Live Arcade and disc, on PlayStation 3 through PlayStation Network and disc, on iPhone and iPad through iTunes, on PlayStation Vita, and on Kindle Fire HDX. Though Telltale normally port their own games to other systems, CSI: 3 Dimensions of Murder was ported to the PlayStation 2 by Ubisoft Sofia, and Bone: Out from Boneville was ported to Mac OS by Vanbrio. Telltale was one of the companies who Sony confirmed pledged PlayStation 4 third-party support at the PlayStation Meeting 2013. Telltale had also committed to developing and re-releasing seasons for the Nintendo Switch. Stauffer stated that there were no restrictions on what games they can bring to the Switch due to content, but they were focusing on their more recent, family-friendly games like Minecraft: Story Mode, Batman, and Guardians of the Galaxy only due to ease of porting these to the Switch, while older games like The Walking Dead required more effort to port.

Telltale Tool
The Telltale Tool is a proprietary game engine developed by Telltale. Telltale commenced development on the engine shortly after its founding, initially referring to the engine as the "Telltale Engine and Toolset". A casual poker game, Telltale Texas Hold'em, was created to test their engine and distribution model, and to ensure that all major bugs were ironed out before the release of their first adventure game, Bone: Out from Boneville.

The Telltale Tool has been used for every game developed by Telltale Games, and continued to receive improvements since the initial version, such as compatibility to new systems and better graphics capabilities. The only third-party game to use the Telltale Tool, Hector: Badge of Carnage, was developed by Straandlooper and also published by Telltale Games.

While the Telltale Tool has been updated over the years to support newer consoles and computers, it lacked features that made it more difficult to develop for as the company took on more projects, rushing the development schedules. Until 2016, Telltale Tool did not have a physics engine, meaning that if a scene required an object to fall, this had to be animated by hand, taking time from other more productive activities. This also prevented them from using elements like dynamic lighting, and required them to develop lighting models using 3D modeling tools like Maya, significantly extending time to develop art assets. The aged feature set of the Telltale Tool led to a perception that many of Telltale's games had an abnormally high rate of bugs and other technical flaws, pervasive enough to pose a significant risk of impeding players' ability to progress through a given game. A 2015 article by Kotaku noted that "their games, wonderful in many ways as they may be, have been accompanied by an undercurrent of fan anger" over widespread bugs and glitches. The article concluded that Telltale's support forums "paint a portrait of a publisher that is constantly releasing buggy and even outright broken games", seemingly lacking the resources to fix or even monitor most of them.

Telltale moved to an improved version of their engine around early 2016, partially implemented first in The Walking Dead: Michonne and completed for the release of Batman: The Telltale Series. The updated Telltale Tool provided direct support for DirectX 11 features, including physics-based models, texture mapping and blending, and dynamic lighting and shadows. The changes also helped automate and integrate a game's development across all departments within Telltale, and specifically helped to reduce memory use in some scenes, which had been identified as causing bugs in some consoles' versions.

In mid-June 2018, Variety reported that Telltale was moving away from the Telltale Tool and instead toward the established Unity game engine. The Stranger Things game was expected to be the first to use the Unity-based engine.

Telltale Publishing
Telltale helped other developers to publish their games. Under the moniker Telltale Publishing, Telltale entered into a publishing deal with Jackbox Games to bring the console versions of The Jackbox Party Pack to retail markets, and with The Fun Pimps to publish 7 Days to Die for consoles; according to Variety, this publishing deal was as financially successful for Telltale as the first The Walking Dead season. On August 18, 2016, Telltale published Mr. Robot:1.51exfiltrati0n by Night School Studio. During the company's restructuring in 2017, the publishing branch of Telltale had been put on hiatus but was expected to be reused once the company regained its financial stability.

Legacy
The release of the first season of The Walking Dead in 2012 is considered to have created a resurgence in the adventure game genre, which had been languishing since about 2000. Dontnod Entertainment found the episodic approach to storytelling to be an ideal way to present Life Is Strange, and it has allowed them to release supplementary stories within the series in smaller pieces. Telltale's approach to branching stories has often been criticized, with choices ultimately having little effect on a game's overall narration, often being summarized as "choices don't matter"; players may make choices to save a character from death early in a game, but only to have that character die later for the game to have a cohesive plot and making the player's effort to save the character meaningless, for example.

Former employees of Telltale Games have gone on to adapt the narrative aspects of these games into their own products. Sean Vanaman and Jake Rodkin, co-writers of the first season of The Walking Dead, decided to leave to pursue independent game development, founding Campo Santo in 2013 and releasing Firewatch, a critically praised narrative-driven exploration game. Adam Hines, a writer for Telltale, co-founded Night School Studio in 2014, subsequently releasing Oxenfree which heavily used a "walk and talk" mechanic as part of its gameplay. Four former employees who had left before the studio's closure—Michael Choung (who had briefly spent time at Night School Studio), Dennis Lenart, Nick Herman, and Pierre Shorette—formed AdHoc Studio with the intent to develop live-action interactive video games, following in Telltale's footsteps. AdHoc has since become involved with the new Telltale Games by LCG to help with the narrative and cinematic elements of The Wolf Among Us 2. Telltale co-founder Dan Connors created a new studio in 2019, Skunkape Games, made up of himself and former Telltale employees Jake Rodkin, Randy Tudor, and Jonathan Sgro. Between 2020 and 2024, the studio released remasters of Telltale's Sam & Max games with assistance from other members of the original development team. In 2021, Telltale co-founder Kevin Bruner created a new studio Dramatic Labs with more than twenty former Telltale employees, including former lead writer and creative director Andrew Grant, former lead writer Dan Martin, former creative director Kent Mudle, and former executive producer and creative director Brett Tosti. Dramatic Lab's first game, Star Trek: Resurgence, was released in May 2023.

title: Telltale Games


text:
User talk:Thehives022

Image source
Thank you for uploading Image:Brian Dawkins.jpg. Its copyright status is unclear, so it may have to be deleted. Please leave a note on the image page about the source of the image. Thank you. --Ellmist 05:14, 10 Apr 2005 (UTC)

Image:Lincoln Financial Field.jpg
Zzyzx11 | Talk 05:17, 16 Apr 2005 (UTC)

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

title: User talk:Thehives022


text:
Talk:Smoked beer

Comment
Brauerei Spezial and Brauerei Heller (Schlenkerla) are fairly unique in that they both produce their own smoked malt.

The mantra in Bamberg is that you have to drink 3 before you will like the flavor; having tried it, I could barely make it through the first. Having a second was out of the question. You can taste the beechwood smoke in the beer, very distinctly. —Preceding unsigned comment added by 66.210.216.19 (talk) 23:47, 5 November 2007 (UTC)

WikiProject Food and drink Tagging
This article talk page was automatically added with WikiProject Food and drink banner as it falls under Category:Food or one of its subcategories. If you find this addition an error, Kindly undo the changes and update the inappropriate categories if needed. The bot was instructed to tagg these articles upon consenus from WikiProject Food and drink. You can find the related request for tagging here. Maximum and careful attention was done to avoid any wrongly tagging any categories, but mistakes may happen... If you have concerns, please inform on the project talk page -- TinucherianBot (talk) 04:35, 4 July 2008 (UTC)

rauchbier / steinbeer
I have a book where it distinguishes between Rauchbier (smoked malt) and Steinbeer (hot stone method in the first paragraph). I think they should be separate articles. I shall check in the book as not 1000% sure about how to spell Steinbeer BUT different bears. Bradley10 (talk) 16:09, 18 August 2008 (UTC)

Should definitely be seperate articles. I've removed the reference to the stone heating in this article. The term rauchbier applied to the latter is a product of linguistical confusion, resulting from the fact that Steinbiers originate from a town called Rauschenberg. The Rau(s)ch- prefix has nothing to do with smoking.FrFintonStack (talk) 00:46, 13 January 2009 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Smoked beer. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20140904204824/http://www.eat-online.net/english/habits/beer_in_ancient_times.htm to http://www.eat-online.net/english/habits/beer_in_ancient_times.htm#SUMERER

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South African smoked beer
I recently tried Border Collier, a smoked beer from a small brewery in South Africa. I have no idea what the notability guidelines for beers are, so I'll just leave this here. 1Veertje (talk)

Missing US Brewery
Dovetail Brewery in Chicago, IL brews an excellent Rauchbier. Dkelber (talk) 18:57, 14 December 2021 (UTC)

Not notable. If the brewery doesn’t have its own Wikipedia article, or if you can’t provide a reference from a reliable source supporting this beer’s notability, this information isn’t encyclopedic.  Julietdeltalima   (talk)  05:17, 9 January 2022 (UTC)

title: Talk:Smoked beer


text:
Scoutisme Français

The Fédération du Scoutisme Français (Federation of French Scouting) is an umbrella organization that combines the efforts of the several Scouting and Guiding associations in France and also represents the Scouting movement in French Guiana, Martinique, Saint-Pierre and Miquelon, New Caledonia, Réunion, Wallis and Futuna and Guadeloupe. Until 2012 the Muslim Scouts of France were presiding the Federation with Dr. Younès F. Aberkane as president.

The federation serves about 134,000 members (as of 2008) and is a member of both the World Association of Girl Guides and Girl Scouts and the World Organization of the Scout Movement.

Member organizations

 * Éclaireuses et Éclaireurs de France (EEdF) – for persons of any religion, oldest Scouting organization in the country, formed in 1911
 * Éclaireuses et Éclaireurs israélites de France (EEIdF) – for Jewish Scouts, formed in 1923
 * Éclaireuses et Éclaireurs unionistes de France (EEUdF) – for Protestant Scouts, formed in 1911
 * Scouts et Guides de France (SGdF) – formed on September 1, 2004 from the merger of two Roman Catholic Scouting organizations: the Guides de France (founded in 1923) and the Scouts de France (founded in 1920)
 * Scouts Musulmans de France (SMdF) – for Muslim Scouts, formed in 1990
 * Éclaireurs de la Nature (EDLN) – for Buddhist Scouts; full member 2017
 * Scouts Vietnamiens de France (ASVD) – for youth of Vietnamese descent; associate member

Non-sovereign territories with Scouting run by Scoutisme Français include

 * French Guiana – Scouting in French Guiana
 * Guadeloupe and Saint Martin – Scouting in Guadeloupe et Saint Martin
 * Martinique – Scouts et Guides de Martinique
 * Mayotte – Scouting in Mayotte
 * New Caledonia – Scouting in New Caledonia
 * Réunion – Scouting on Réunion
 * Saint Pierre and Miquelon
 * Wallis and Futuna – Scouting in Wallis and Futuna

title: Scoutisme Français


text:
Strange (comic book)

Strange is a six-part American comic book limited series published by Marvel Comics under their Marvel Knights imprint. Written by J. Michael Straczynski and Samm Barnes, with artwork by Brandon Peterson, Strange is a re-imagining of Doctor Strange's origin.

Synopsis
While in Tibet, a medical student named Stephen Strange meets a sickly, apparently mute young man named Wong. He later meets an old man while going to a monastery called "the Garden of Fountains", who asks him why he wants to become a doctor. Later, he hears the young man named Wong start talking after Stephen gives him a watch, hoping he will return later in life. Three years later, at his graduation party, one of Stephen's college professors who believes he would be more than a "medical profession's version of a pimp" is killed in an automobile incident. Three years after that, Stephen is working in plastic surgery in New York but is injured in a skiing accident.

Stephen loses the full ability to use his hands after the accident and starts looking for a surgeon who can fix his hands, but finds no one who can help. Strange meets a member of doctors without borders who he had worked with in Tibet, who explains that Wong is now a specialist "healer" in alternative medicine. Strange returns to Tibet to discover that the village he had volunteered in had been destroyed and Wong had left. While in Tibet, Strange meets a man who knew Wong and receives Wongs address in New York. Strange returns to New York to meet with Wong.

title: Strange (comic book)


text:
29th Infantry Division (Wehrmacht)

The 29th Infantry Division was a unit of the German army created in the fall of 1936. It was based on the old Reichswehr 15th Infantry Regiment and drew its initial recruits from Thuringia. It was upgraded to 29th Motorized Infantry Division in the fall of 1937. The division was also known as the Falke-Division (Falcon Division).

Operational history
The division was mobilized in August 1939 and joined the XIV Corps of the German 10th Army for the invasion of Poland.

On 8 September 1939, forces of the 29th Infantry Division occupied Lipsko, where members of the division's 71st Infantry Regiment's third battalion staged a pogrom on 9 September, killing between 60 and 80 Jewish inhabitants of the town.

The division took part in the encirclement of Polish forces at Radom, Poland and committed the Massacre in Ciepielów, where about 300 Polish prisoners of war were executed.

In December 1939 it was transferred to the west. During the invasion of France it joined the 16th Army. As a strategic reserve it was used during the drive for the English Channel. After the Dunkirk evacuation it joined Heinz Guderian's Panzer Group for an advance through eastern France. It was then employed in occupation duties until early 1941.

Taking part in Operation Barbarossa it was attached to the German 4th Army and took part in a number of actions against isolated Soviet formations at Minsk, Smolensk and Bryansk. It was then sent to support Guderian's 2nd Panzer Army near Tula. The division lost most of its vehicles and many killed and captured during the retreat from Moscow at Mordves, south of Kashira in the Moscow oblast. In 1942 it spent the first 6 months in action near Orel and then in July 1942 was assigned to the German 6th Army as part of Army Group South. It took part in the fighting on the approaches to Stalingrad, and in the city itself. It was redeployed to serve as the 4th Panzer Army's mobile reserve at the end of September, and relocated behind the IV Corps guarding the southern flank of the 6th Army forces in Stalingrad.

When the Red Army's second pincer attack was launched from the south, the division was pushed into the south-west corner of the pocketed German forces. Having been held in reserve for most of the Stalingrad campaign, the division was at 90% combat strength according to its situation reports. On 21 January 1943 it was attacked by the Soviet 21st Army, and was destroyed.

It was then reconstituted in France in the early spring from the recently formed 345th Infantry Division. It was transferred to the Sicilian Campaign as the 29th Panzergrenadier Division for sometime in the defence of the Northern Route to Messina. Thereafter it fought in Italy at Salerno, Anzio, and San Pietro and was destroyed by the British in northern Italy just before the end of the war.

In the final days of the war, on 29 April 1945, the division was involved in the San Martino di Lupari massacre, where it used Italian civilians as human shields against partisan attacks and eventually executed 125 hostages.

Organization
Structure of the division in 1944:

 * Headquarters
 * 29th Panzer Battalion
 * 15th Grenadier Regiment
 * 71st Grenadier Regiment
 * 29th Motorized Artillery Regiment
 * 129th Panzer Reconnaissance Battalion
 * 29th Tank Destroyer Battalion
 * 29th Motorized Engineer Battalion
 * 29th Motorized Signal Battalion
 * 313th Army Anti-Aircraft Battalion
 * 29th Field Replacement Battalion
 * 29th Panzergrenadier Division Supply Group

Commanding officers

 * Generalleutnant Gustav Anton von Wietersheim, 1 October 1936 – 1 March 1938
 * Generalleutnant Joachim Lemelsen, 1 March 1938 – 7 May 1940
 * Generalmajor Willibald Freiherr von Langermann und Erlencamp, 7 May 1940 – 7 September 1940
 * Generalmajor Walter von Boltenstern, September 1940 – September 1941
 * General Max Fremerey, September 1941 – September 1942
 * General Hans-Georg Leyser, September 1942 – February 1943
 * General der Panzertruppe Walter Fries, 1 March 1943 – 5 March 1943
 * Oberst Dr. Hans Boelsen 5 March 1943 – 20 March 1943
 * General der Panzertruppe Walter Fries 20 March 1943 – 31 August 1944
 * Generalleutnant Dr. Fritz Polack, 24 August 1944 – 24 April 1945

title: 29th Infantry Division (Wehrmacht)


text:
Scouting and Guiding in France

The Scout movement in France consists of about 80 different associations and federations with about 180,000 Scouts and Girl Guides. Next to Germany, France is the country with the most fragmented Scout movement.

National recognized organizations
The national recognized organizations are grouped in two federations and one independent organization.

Fédération du scoutisme Français
The Fédération du Scoutisme Français (Federation of French Scouting) is the national member of both the World Organization of the Scout Movement (WOSM) and the World Association of Girl Guides and Girl Scouts (WAGGGS). The federation has about 120,000 members grouped in five co-educational associations.

Scoutisme Français was founded in 1940 under the Vichy regime. The new organization banned some clubs and gathered others under a broad umbrella. The new club included members from Eclaireurs de France, the Éclaireurs unionistes de France, the Scouts de France, the Guides de France, the Éclaireurs israélites de France and the Fédération française des éclaireuses.

The Members of the federation are:
 * Éclaireuses et Éclaireurs de France (founded in 1911, interreligious, 35,000 members)
 * Éclaireuses et Éclaireurs unionistes de France (founded in 1911, Protestant, 5,000 members)
 * Eclaireuses et Eclaireurs israélites de France (founded in 1923, Jewish)
 * Scouts et Guides de France (founded in 2004 after the merger of Scouts de France (1920) and Guides de France (1923), Catholic, 70,000 members)
 * Scouts Musulmans de France (founded in 1990, Muslim)
 * Éclaireurs de la Nature (founded in 2007, Buddhist)

Conférence Française de Scoutisme
The Conférence Française de Scoutisme (French Conference on Scouting) has about 35,000 members grouped in three co-educational associations:
 * Association des Guides et Scouts d'Europe (founded in 1958, Catholic, 25,000 members). The association is affiliated to the Union Internationale des Guides et Scouts d'Europe
 * Eclaireurs Neutres de France (founded in 1947, interreligious, 3,000 to 4,000 members). Affiliated is a number of smaller associations, some of them Catholic:
 * Europa Scouts
 * Scouts et Guides Saint-Louis
 * Scouts et Guides de Riaumont (Traditionalist Catholic, with connections to the Priestly Fraternity of St. Peter)
 * Fédération des Eclaireuses et Eclaireurs (founded in 1989 as split-off of the Eclaireuses et Eclaireurs de France, interreligious, 2,000 members). This federation groups about 15 to 20 independent local associations, some of them Protestant or Orthodox.

Scouts unitaires de France
The Scouts Unitaires de France (Unitary Scouts of France) were founded in 1971 in reaction to a pedagogic renewal within the Scouts de France splitting the former Scout troops (unités) in two new sections and implementing coeducation. The association is Catholic and counts about 23,000 members.

Regional or local recognized organizations
There are at least 50 independent Scouting associations in France outside the above-mentioned federations. Most of them are recognized by regional or local authorities, some via religious communities. They have an estimated membership of about 5,000 Scouts and Guides.

Notable among them are:
 * Association Française de Scouts et Guides Catholiques (Traditionalist Catholic)
 * Scouts de Doran (Split-off of the former, Catholic), working towards national recognition
 * Scouts et Guides Godefroy de Bouillon (Traditionalist Catholic, with connections to the Society of St. Pius X)
 * Ecuyers Saint-Michel (Fencing Scouts)
 * Fédération du Scoutisme Evangélique Français (Protestant). Affiliated are a number of smaller associations.

Old Scouts
The Fédération des Associations d'Anciens du Scoutisme (FAAS) is the national member of the International Scout and Guide Fellowship.

The Members of the federation are:
 * Les Amitiés de France Anciens Scouts et Guides (ADF)
 * Association des Anciens Éclaireurs et Éclaireuses (A.A.E.E.)
 * A3-Association des Anciens et Amis des Éclaireurs et Éclaireuses Israélites de France
 * Les Tisons, Anciens des Éclaireurs et Éclaireuses Unionistes
 * Réseau des Parents et Amis des Guides et Scouts de France

International Scouting units in France

 * Boy Scouts of America, served by the Transatlantic Council in Paris
 * Girl Scouts of the USA, served by USAGSO headquarters
 * The Scout Association, served by British Scouting Overseas
 * Girlguiding UK, served by British Guides in Foreign Countries
 * Armenian Scouting, served by Homenetmen
 * Greek Scouting in Paris
 * Külföldi Magyar Cserkészszövetség operates one troop in Paris
 * Polish Scouting and Guiding, served by ZHP pgK (ZHP aboard)
 * Russian Scouting, served by National Organization of Russian Scouts (NORS) and Organization of Russian Young Pathfinders

History
At the end of 1937, France sent Scoutmaster Raymond Schlemmer to the Cambodian, Laotian and Vietnamese areas of Indochina to oversee the setting up of the Fédération Indochinoise des Associations du Scoutisme (FIAS, Indochinese Federation of Scouting Associations) in all three regions.

title: Scouting and Guiding in France


text:
User talk:Slythefox

Image source
Thank you for uploading Image:Brian Johnson 3.png. Its copyright status is unclear, so it may have to be deleted. Please leave a note on the image page about the source of the image. Thank you. --Ellmist 05:16, 10 Apr 2005 (UTC)
 * Same as the above for the photo of The Clash that you uploaded. Jkelly 04:25, 25 October 2005 (UTC)

Disputed fair use rationale for Image:GSTQ cover.jpg
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File source problem with File:Sex Pistols.jpg
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title: User talk:Slythefox


text:
User talk:Praneeth

Image source
Thank you for uploading Image:Brian lara.jpg. Its copyright status is unclear, so it may have to be deleted. Please leave a note on the image page about the source of the image. Thank you. --Ellmist 05:17, 10 Apr 2005 (UTC)

Also Image:Warne.jpg. Thank you. Stephen Turner 10:53, 26 Jun 2005 (UTC)

title: User talk:Praneeth


text:
User talk:LJ Holden

File:General lewis.JPG listed for discussion
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File:Lewisdebate.jpg listed for discussion
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File permission problem with File:LJ Holden 2011.jpg
Thanks for uploading File:LJ Holden 2011.jpg. I noticed that while you provided a valid copyright licensing tag, there is no proof that the creator of the file has agreed to release it under the given license.

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File:Provinces of new zealand timeline1.gif
Hi LJ Holden

You did create GIF-file Provinces of new zealand timeline1.gif. It is a great help to show timeline of establishing different provinces in New Zealand. But the graphic shows wrong maps to the years 1841 und 1846.

On 16th of November 1840 the three main island of New Zealand have been named via letters patent to New Ulster (North Island), New Munster (South Island) und New Leinster (Stewart Island) for geographical reason. see Alison Dench: Essential Dates, A Timeline of New Zealand History, Random House, Auckland, 2005, page 59

According to the New Zealand Constitution Act 1846 the Island have been divided for administrative reasons into New Ulster and New Munster. Stewart Island was taken to New Munster and on 10th of March 1848 on the North Island the area of south of Patea River was taken to New Munster by proclamation of governor George Edward Grey. http://www.teara.govt.nz/en/1966/provinces

Could you please check your animation and could you make a correction. Kind Regards. -- Ulanwp (talk) 17:50, 6 November 2016 (UTC)

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Wish
Hello. Help expand, add cites for article Maureen Wroblewitz. Thanks you. Uuithy (talk) 03:07, 17 February 2019 (UTC)
 * I have no idea who that is sorry. --LJ Holden 03:08, 17 February 2019 (UTC)

WP:EASTEREGG
This is where a link appears to be something, but goes to something entirely unexpected when clicked. So, at Rail transport in New Zealand, your link  Government Department  would seem to the reader to be a link to "Government Department". Instead, it goes to the Railways Department article. In effect, such links are useless because their intended destination is hidden. Hope you don't mind me pointing this out. Akld guy (talk) 02:28, 23 February 2019 (UTC)
 * No worries, makes sense. Thanks for your edits! --LJ Holden 03:14, 23 February 2019 (UTC)
 * Cheers. Akld guy (talk) 03:37, 23 February 2019 (UTC)

Notes at Wgn Rail Station
Read the manual of style a little further and also refer to the other sections concerning reference. Eddaido (talk) 01:11, 5 March 2019 (UTC)
 * FYI Manual of Style/Layout --LJ Holden 01:14, 5 March 2019 (UTC)
 * Yeah, have a good read. Eddaido (talk) 05:04, 5 March 2019 (UTC)
 * Hence why I've been using "Notes and references", as that's what major Wiki articles use, and it's in line with the MoS. If I'm wrong, feel free to point that out, just saying read a "little further" doesn't explain anything. --LJ Holden 08:22, 5 March 2019 (UTC)
 * The only reason I can find for this is that you inhabit a part of WP that relates to railways which I would normally have no reason to enter. Your amendment (which you correctly say is suggested by MoS) is one I have never noticed before which is why it 'stuck in my craw'. I am accustomed to occasionally creating "Notes" which appear over the template . You mess things up by taking the word notes as a heading for what is otherwise known in my experience as References —which, as I acknowledge, . . . MoS. However when you read MoS further past that first (to me strange) suggestion you will find the wording suggested conforms with what I have experienced as the norm (maybe in the part of WP I roam in). In view of the MoS statement you refer to I have not set out on a full-scale edit war to the death all guns blazing but are you sure your preferred headings are actually conventional —as distinct from being the first suggestion in MoS? I'll put links or quotes from MoS below in a little while. Regards, Eddaido (talk) 21:53, 7 March 2019 (UTC)
 * Hi Eddaido, I'm editing a lot of railways articles at the moment because most of the articles have been in a mess for some time with uncited and dubious claims added over the past few years. In that time the way references work and are templated has changed a lot, for the better, so that we can now reference specific pages and entire sources (usually books, but sometimes journals). After looking at a lot of other Wikipedia articles (not just in the railways sphere) I found, along with the MoS, a number had their references split between what I'd call citations and references. On reflection I agree the use of "Notes" is confusing, I acknowledge that there are also "Footnotes" - so, therefore, my solution is:

Thoughts? --LJ Holden 23:02, 7 March 2019 (UTC)
 * Section title: References and bibiography
 * Subsection "References"
 * Subsection "Bibliography"

(Edit clash so written without reference to your last note)
 * The link you have provided above take me to these statements:
 * 1.Explanatory footnotes- these are what I would put under the heading 'Notes'
 * 2. & 3. Citation footnotes — 'References'
 * 4. 'General References'.

 * It seems to me you want to: allow no room for 1., use Notes for 2. & 3., and use References for 4.
 * Note the WP antiwar declaration Editors may use any citation method they choose
 * Then comes this section: (Am I right to guess this is the guidance you followed?)

 * If multiple sections are wanted, then some possibilities include:
 * For a list of explanatory footnotes or shortened citation footnotes: "Notes", "Endnotes", or "Footnotes"
 * For a list of full citations or general references: "References" or "Works cited"

 * I guess you pick up on shortened citation footnotes to go under "Notes", "Endnotes", or "Footnotes". But, haven't you put 'Notes' over a list of full citations and not over explanatory or shortened stuff?

 * I Hate rulebooks. Eddaido (talk) 23:11, 7 March 2019 (UTC)
 * Ah, that's the issue as always with Wikipedia... anyone can edit it, but it does have rules and guidelines, although they're fluid and change all the time and can, as in this case, be unclear and unhelpful. So we end up winging it. My rule of thumb is to refer to other articles, especially the "A" grade ones.
 * I think what your saying is right. What I've put as Footnotes should now be Notes, and what I've got as Notes should be References, and what I've got as References should be General References, although it seems it's more common to put "Further reading" sections in. --LJ Holden 23:17, 7 March 2019 (UTC)

 * Yes, that's good and now I guess why we are on different if parallel tracks. I cannot abide the super complex curly bracket form of citation and that is your preferred style. It is extremely hard to edit and I can find nothing good to say of it. So if you are using that form in your NZR work you will see what we are discussing quite differently from me. We seem to have established where we differed. Have a nice weekend, it might be wet for a change.
 * Eddaido (talk) 23:26, 7 March 2019 (UTC)

Otaihunga railway station article
I propose to make Otaihunga railway station a redirect to Otaihanga railway station and have put it on the WikiProject NZR list of tasks. Current spelling and also the spelling in WMR advertisements and in Douglas Hoy’s 1972 book on the WMR (p52,120). I do not have access to Ken Cassell’s "Uncommon Carrier" at present. Hugo999 (talk) 00:00, 17 April 2020 (UTC)
 * Yep Uncommon Carrier states that it's spelled Otaihanga. Happy to add that. LJ Holden 09:58, 17 April 2020 (UTC) Done already Hugo999 (talk) 02:04, 18 April 2020 (UTC)

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Ahoy
Hi, I'm wondering if you have the volume and issue numbers for some of the citations that you've used on the railroad articles. An issue came up where quite a few have shown up in Category:Pages with citations having redundant parameters. Not immediately after you edited though; it was only after someone else came through and modified the reference elements. It's been in the last week or so that I've seen those pop up. I am one of the major contributors to that tracking category and is why I noticed. Have a good day, Dawnseeker2000  20:09, 28 May 2020 (UTC)
 * I see what's happened, all fixed now. The "Issue" numbers refer to the number in the NZRO series of a volume, so they're not really issues. All that's needed for accurate citation really is the NZRO number and page. --LJ Holden 20:27, 28 May 2020 (UTC)

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Missing cite in Rail transport in New Zealand
The article cites "KiwiRail 2010" but no such source is listed in bibliography. Can you please add? Also, suggest installing a script to highlight such errors in the future. All you need to do is copy and paste importScript('User:Svick/HarvErrors.js'); // Backlink: User:Svick/HarvErrors.js to your common.js page. Thanks, Renata (talk) 05:18, 4 October 2020 (UTC)
 * Cool, thanks. I think that's their Annual Report. --LJ Holden 21:11, 4 October 2020 (UTC)

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Royal Wolf
Hi LJ, Would you or an Aussie Wikipedian be able to recreate Royal Wolf? Peter Horn User talk 01:52, 13 October 2021 (UTC)
 * Log cradle container links to it. Peter Horn User talk 01:57, 13 October 2021 (UTC)
 * Sure, I'll look into it, will need to establish why they're notable. --LJ Holden 22:17, 13 October 2021 (UTC)
 * The best that I was able to find so far. https://www.crunchbase.com/organization/royal-wolf Peter Horn User talk 17:07, 15 October 2021 (UTC)

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Federation of Rail Organisations of New Zealand
Regarding your edit (Special:Diff/880576305) at the article Federation of Rail Organisations of New Zealand, you wrote Our 70 members. Do you have a conflict of interest you should declare? Or was this just a mistake from I presume from taking information from their website? Cheers, Fork99 (talk) 10:45, 8 July 2023 (UTC)
 * No I'm not a member of FRONZ. Yes it was a mistake. --LJ Holden 10:47, 8 July 2023 (UTC)
 * Thanks, have a good evening :) Fork99 (talk) 10:49, 8 July 2023 (UTC)

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See Royal Titles Act 1974: "The royal style and titles of Her Majesty, for use in relation to New Zealand and all other territories for whose foreign relations Her Government in New Zealand is responsible, shall be— Elizabeth the Second, by the Grace of God Queen of New Zealand and Her Other Realms and Territories, Head of the Commonwealth, Defender of the Faith— instead of the style and titles at present appertaining to the Crown."

see also https://www.rnz.co.nz/news/national/474542/king-charles-iii-officially-proclaimed-as-new-zealand-s-new-king

"We therefore, The Right Honourable Dame Cindy Kiro, Governor-General of New Zealand, The Right Honourable Jacinda Ardern, Prime Minister of New Zealand, and Members of the Executive Council, assisted by members of Parliament, Judges, Representatives of the Realm, and numerous other representative citizens here present, hereby proclaim that His Royal Highness Prince Charles Philip Arthur George is now King Charles III, By the Grace of God King of New Zealand and of His Other Realms and Territories, Head of the Commonwealth, Defender of the Faith..." 199.119.233.164 (talk) 03:55, 5 September 2023 (UTC)
 * Yeah, no mention of the United Kingdom. Not sure why you added that in. --LJ Holden 10:43, 5 September 2023 (UTC)

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text:
Abraham Blauvelt

Abraham Blauvelt was a Dutch privateer, pirate and explorer of Central America in the 1630s, after whom both the Bluefield River and the neighboring town of Bluefields, Nicaragua were named.

One of the last of the Dutch corsairs of the mid-17th century, Abraham Blauvelt was first recorded exploring the coasts of present-day Honduras and Nicaragua in service of the Dutch West India Company. He later traveled to England in an effort to gain support to establish a colony in Nicaragua near the city where Bluefields, Nicaragua presently stands. Around 1640 Blauvelt became a privateer serving the Swedish East India Company and in 1644 he commanded his own ship successfully raiding Spanish shipping from a base in southwest Jamaica, today known as Bluefields, Jamaica, and selling the cargo and prizes to the Dutch colony of New Amsterdam (New York). After peace between Spain and the Netherlands was reached with the signing of the Peace of Westphalia in 1648, Blauvelt, unable to stay in New Amsterdam, instead sailed to Newport, Rhode Island in early 1649 to sell his remaining cargo. However the colonial governor seized one of Blauvelt's prizes and with his crew arguing over their shares, the local colonists, fearing that Rhode Island acquire a reputation of trading with pirates, forced Blauvelt to leave the colony. For the next several years Blauvelt commanded a French ship called La Garse, later living among the natives of Cape Gracias a Dios near the border of Honduras and Nicaragua, until the early 1660s when he was recruited for Christopher Myngs' sacking of the Spanish colony of Campeche in 1663. However, nothing more is known about his activities after this time.

Legacy
Blauvelt is best remembered as a Jewish pirate who fought to defend the honor of the Jewish people, raiding only Spanish ships as revenge for the exile of his people from Spain. His name was immortalized by Terebelo Distillery, which released a namesake New York Bourbon Whiskey to honor him and his legacy.

title: Abraham Blauvelt