text:
TranSouth Athletic Conference

The TranSouth Athletic Conference (TSAC) was a college athletic conference for smaller colleges and universities located in the Southern United States. It was affiliated with the National Association of Intercollegiate Athletics (NAIA) and competes in that organization's Region XI.

History
On August 9, 2012 it was announced that Mid-Continent University had accepted an invitation to join the American Midwest Conference, starting with the 2013-14 season. Later, Bethel, Blue Mountain, and Martin Methodist were announced to be moving to the Southern States Athletic Conference starting with the 2013-14 season.

Chronological timeline

 * 1996 – The TranSouth Athletic Conference (TSAC) was founded from mostly former members of the Tennessee Collegiate Athletic Conference (TCAC). Charter members included Bethel College (now Bethel University), David Lipscomb University (a.k.a. Lipscomb University), Freed–Hardeman University, Martin Methodist College (now the University of Tennessee Southern), Trevecca Nazarene University and Union University, alongside Berry College, Birmingham–Southern College, Blue Mountain College (now Blue Mountain Christian University), Lee College (now Lee University), and Williams Baptist College (now Williams Baptist University) beginning the 1996–97 academic year.
 * 1997 – Lyon College joined the TSAC in the 1997–98 academic year.
 * 1999 – Bethel (Tenn.) left the TSAC to join the Kentucky Intercollegiate Athletic Conference (KIAC) after the 1998–99 academic year.
 * 2001 – Three institutions left the TSAC to join their respective new home primary conferences: Birmingham–Southern and Lipscomb to the Division I ranks of the National Collegiate Athletic Association (NCAA) as NCAA D-II Independents, and Williams Baptist to the American Midwest Conference, all after the 2000–01 academic year.
 * 2002 – Cumberland University of Tennessee joined the TSAC in the 2002–03 academic year.
 * 2003 – Athens State University joined the TSAC in the 2003–04 academic year
 * 2004 – Three institutions left the TSAC to join their respective new home primary conferences: Berry and Lee to the Southern States Athletic Conference (SSAC), and Athens State to discontinue athletics due to lack of sponsored sports, all effective after the 2003–04 academic year.
 * 2005 – Crichton College (later Victory University) joined the TSAC in the 2005–06 academic year.
 * 2006 – Lambuth University and Mid-Continent University joined the TSAC (with Bethel [Tenn.] re-joining) in the 2006–07 academic year.
 * 2008 – Lambuth and Victory (formerly Crichton) left the TSAC to become NAIA Independents as charter members of the Association of Independent Institutions (AII; now the Continental Athletic Conference) after the 2007–08 academic year. At the same time, Lambuth began transition to the NCAA Division II ranks as an NCAA D-II Independent.
 * 2012 – Four institutions left the TSAC to join their respective new home primary conferences: Trevecca Nazarene to the Great Midwest Athletic Conference (G-MAC) and Union (Tenn.) to the Gulf South Conference (GSC) (both into the NCAA Division II ranks), Lyon to the American Midwest, and Cumberland (Tenn.) to the Mid-South Conference, all after the 2011–12 academic year.
 * 2012 – Life University joined the TSAC in the 2012–13 academic year.
 * 2013 – The TSAC would cease operations as an athletic conference after the 2012–13 academic year; as many schools left to join their respective new home primary conferences beginning the 2013–14 academic year: Freed–Hardeman and Mid-Continent to the American Midwest, Bethel (Tenn.), Blue Mountain and Martin Methodist (now UT Southern) to the SSAC, and Life returning as an NAIA Independent (before joining the Mid-South during the 2014–15 academic year).

Final members
On its final season, the TSAC had six member schools, which most were private schools:

 * Notes:

Former members
The TSAC had 12 former full member schools, which most were private schools:

 * Notes:

Membership timeline
undefined

Sponsored sports
Men's sponsored sports were baseball, basketball, cross country, golf, soccer, and tennis. Women's sports sponsored were basketball, cross country, golf, soccer, softball, tennis, and volleyball.

title: TranSouth Athletic Conference


text:
User talk:Brysonborg

Welcome!

'''Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my New-Users' Talk Page.'''

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Happy editing! Mel Etitis ( Μελ Ετητης ) 21:41, 9 Apr 2005 (UTC)

Welcome to Wikipedia
Hi Brysonborg. You've made some outstanding contributions to various medical-related articles. Keep up the good work! You seem to have a medical background, or at least a medical interest. Perhaps you would be interested in checking out WikiProject Clinical medicine.
 * —Brim 04:54, Apr 14, 2005 (UTC)

Neurofibromatosis type I
Dear Brysonborg,

we are working on an article "Neurofibromatose Typ 1" in the german Wikipedia. We are looking for some pictures, and found the 3 pictures you are using in the article here. Our Wikipedia is strict in using pictures without acceptable rights. So I wanted to ask if it is possible to use these pictures with the GNU-Licence. I hope that it will be possible to use these pictures. Greetings from Austria Patrick (Discussion Page)--80.109.151.249 20:29, 12 Jun 2005 (UTC)

Image Tagging Image:Plexiform neurofibroma in the neck.png
Thanks for uploading Image:Plexiform neurofibroma in the neck.png. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

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Image Tagging for Image:Pseudoarthrosis.jpg
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title: User talk:Brysonborg


text:
User talk:Nsquared

Welcome!

'''Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my New-Users' Talk Page.'''

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Happy editing! Mel Etitis ( Μελ Ετητης ) 21:42, 9 Apr 2005 (UTC)

title: User talk:Nsquared


text:
Talk:Magnetic flux

Article Does Not define magnetic Flux
This article should be deleted because it is useless as a definition. There is no place where it shows how to calculate the magnetic flux from a definition of it. Of course engineers have been designing electric machines for over 100 years using this concept, so there is a way to do it. Since magnetic flux is the dual concept to quanity measure of electricity or charge, it is important that a procedure be given to calculate magnetic flux. But I can't find it here.

According to history, the above was written by 71.251.190.82. I made the heading. --Treekids (talk) 18:40, 12 June 2008 (UTC)

I agree- the definition is inaccurate and tautologous when corrected. Magnetic field (H) is a completely different concept from flux, and if you replace the erroneous 'field', by the correct 'flux', the defintion becomes 'Flux is the amount of flux'. What kind of defintion is that ? What kind of imbecile has written this crap anyway ? —Preceding unsigned comment added by 82.32.49.157 (talk) 19:31, 28 February 2011 (UTC)

 * The intended definition was the tautologous one (B) not the incorrect one (H). I reworded to make that clearer.
 * For a non-tautological definition...I don't know. It's a hard thing to "define", being a physical thing in the real world. If you have a good way to do it please go ahead. One strategy is to look at how it's defined in textbooks. --Steve (talk) 20:06, 28 February 2011 (UTC)
 * Physically speaking, "flux" is the amount of flow through a surface. In the case of magnetic flux, we're talking about the number of imaginary lines flowing through an imaginary surface. Those imaginary lines are magnetic force vectors. i.e. the vectors that represent the force that a magnetic object will experienced if placed into the magnetic field. There is no universally accepted physical explanation of what that field is. It's action at a distance. Just not instantaneous. 2603:6080:CC00:193:C9E2:11BE:C088:7008 (talk) 20:25, 4 August 2023 (UTC)

Proof
The given "proof" that the flux through a closed surface being zero seems backward. It starts from a vector potential A with curl A = B and then proves that div B = 0. In reality it is just the opposite. One of Maxwells laws states that div B = 0. As a consequence there is a vector potential A with curl A = B. −Woodstone 21:42, 2005 Apr 9 (UTC)

adds and removed

 * I added the reference to Maxwell's equations because of that, but it is still unsatisfying. Lemme see how it can be reworded. --Laura Scudder 23:32, 9 Apr 2005 (UTC)

 * I just removed the reference to the vector potential since it has no direct connection to discussion. --Laura Scudder 23:43, 9 Apr 2005 (UTC)

Equations need revamping
This page needs to have variables explained better. I added some explanation, but others I'm not sure how to expand on. Also, am I right that B (the magnetic flux density) is the same thing as a "magnetic field" ? If so that should be noted, because both terms are common.

No - flux density (B) and field (H) are completely different concepts with different dimensions and units (Tesla and A/m repectively in the SI system). B = Hu where u (mu) is the permeability of a material. u has units of Henry/metre; u0, the permeability of free space is 1.257*10^-6H/m. The problem is that in the USA writers are extremely careless about use of the term 'magnetic field', and habitually confuse it with flux density. God knows how they can do science or engineering with that kind of mind set. Possibly the reason for this is that in that country the cgs system is still in use, and in that system B and H are identical (so I have been told, but I have never used that system of units myself). —Preceding unsigned comment added by 82.32.49.157 (talk) 19:39, 28 February 2011 (UTC)

 * Some people use the terminology that B is the "magnetic field" and H is the "magnetic H field". That doesn't make them stupid or careless or incapable of doing science or engineering. It's just a different terminology. For example, Americans are still capable of playing "football" even though they think the word "soccer" means "football" and the word "football" means something different. At the World Cup I didn't see the American team throwing the ball to each other or wearing helmets.
 * That said, of course on wikipedia we should define things in a way everyone will understand. I edited the lead accordingly. I hope I didn't miss anything. :-) --Steve (talk) 20:00, 28 February 2011 (UTC)

"Layman"
The article states that:
 * Magnetic flux density, otherwise known as magnetic field density, is essentially what the layman knows as a magnetic field

It's also what pretty much every physicist knows as the magnetic field, and authors like Jackson and Griffith concur on such usage. So I think "the layman" here is a bit misleading. --Starwed 13:08, 27 February 2007 (UTC)

No - the layman and the scientist or engineer differ here - see my comment immediately above. AJS —Preceding unsigned comment added by 82.32.49.157 (talk) 19:41, 28 February 2011 (UTC)

Didn't get the definition
I want an easier definition because I didn't get that one. ClintJCL (talk) 02:18, 4 December 2012 (UTC)

 * "Definitions" are tricky in physics articles because you are talking about a real-world thing. You describe it rather than define it - by pointing to examples of it, listing its properties, etc. (How would you "define" Mount Everest? Maybe you would say where it is, how tall it is, show a picture of it ... but that's not really "defining" it, just "describing" it.) When you describe a real-world thing (like "magnetic field" or "Mount Everest") in sufficient detail, there is no ambiguity about exactly what it is -- it is therefore 100% precise. But you cannot necessarily sum it up in one crisp sentence to open an article. This is a challenge particularly for the magnetism articles, although I have occasionally seen complaints about "circular definitions" or "imprecise definitions" in many different physics articles.

 * I am not saying that there is no room for improvement in the opening definition. Just want to say why I think it's very hard to make it sound perfectly clear and accessible. --Steve (talk) 04:28, 4 December 2012 (UTC)

Template:Electromagnetism vs Template:Electromagnetism2
I have thought for a while that the electromagnetism template is too long. I feel it gives a better overview of the subject if all of the main topics can be seen together. I created a new template and gave an explanation on the old (i.e. current) template talk page, however I don't think many people are watching that page.

I have modified this article to demonstrate the new template and I would appreciate people's thoughts on it: constructive criticism, arguments for or against the change, suggestions for different layouts, etc.

To see an example of a similar template style, check out Template:Thermodynamic_equations. This example expands the sublist associated with the main topic article currently being viewed, then has a separate template for each main topic once you are viewing articles within that topic. My personal preference (at least for electromagnetism) would be to remain with just one template and expand the main topic sublist for all articles associated with that topic.--DJIndica 16:45, 6 November 2007 (UTC)

+ or -
$$\mathcal{E} = \oint \mathbf{E} \cdot d\mathbf{s} = -{d\Phi_m \over dt}.$$ Better: + or - Martin Segers (talk) 08:24, 6 January 2008 (UTC)

gibberish

 * Figure 3: A vector field F ( r, t ) defined throughout space, and a surface Σ bounded by curve ∂Σ moving with velocity v over which the field is integrated.

Can someone re-word this? --Treekids (talk) 18:38, 12 June 2008 (UTC)

Flux through an Electric coil?
What is the definition of flux through a coil doing there? Its nothing more than applying the general definiton of magnetic flux (in fact the equation is a repeat of the definition - and once again the dot for the dot product is missing). The section is too short anyway, hence its redundant. The section makes it appear that the flux through a coil has a seperate/special case definition.

On the other hand - the video is certainly good to include.

Given these issues - I deleted everything in the section except the video  and a sentence related to the video.

If there is any favour to restore the section and extend it to some volume - please do. F = q(E+v×B) ⇄ ∑ici 13:59, 25 March 2012 (UTC)

Many images...
I also tried to tidy the positioning of the images - if according to your browser the images still are cluttered: tweak as neccersary. F = q(E+v×B) ⇄ ∑ici 14:01, 25 March 2012 (UTC)

==

Sign of Field Lines
The text states "(see below for deciding in which direction the field lines carry a positive sign and in which they carry a negative sign).", but there is no further mention of this.

Modelmat (talk) 08:57, 24 March 2021 (UTC)

Equation for Magnetic Flux is Mathematically Incorrect
The equation for magnetic flux on the page says that Φ = B⋅S = BS sin θ. I don't know what the literature says on the subject, but this equation is mathematically wrong. The dot product of the two vectors B⋅S is BS cos θ. For it to be BS sin θ, you'd need to be talking about the magnitude of the vector B×S or the magnitude of the bivector B∧S. 2603:6080:CC00:193:C9E2:11BE:C088:7008 (talk) 20:03, 4 August 2023 (UTC)

title: Talk:Magnetic flux


text:
Talk:Interracial marriage

This is for interracial marriage, not about Chinese
Not about Chinese males married a foreign woman 45.160.12.3 (talk) 18:15, 24 February 2023 (UTC)

Improving page
Hello, I'm a new wikipedia editor and I just noticed that the legality section on this page is a bit odd because it starts by listing places were interaical marriage was historical banned. I'm thinking about adding a first paragraph but the current legality then moving the current part of it to a subsection labeled history. Thoughts? Wik206 (talk) 05:10, 18 April 2023 (UTC)

 * Or should legality just be renamed history seeing that's what it's more about? Wik206 (talk) 05:14, 18 April 2023 (UTC)

Too many of the examples are ridiculous
Just saw some examples added. It drew my attention to the fact that a lot of them are appallingly US-centric in their naming conventions. Only an American would say Black British, or British Jamaican, or British Lebanese, etc. British people wouldn't. Should we rename this article to "American perspectives on interracial marriage"? HiLo48 (talk) 09:13, 26 February 2024 (UTC)
 * Some more labels that only an American would use have been added. This article is becoming a disaster area. Is anyone ever seriously described as European-Armenian American? HiLo48 (talk) 23:52, 7 March 2024 (UTC)
 * "Black British" is a common and also an official (census, eg) term in UK: see the Wikipedia article, and its Talk page, Black British people.
 * — Protalina (talk) 12:20, 12 March 2024 (UTC)

Interracial children are more attractive and other funny biases in this article.
Found this article to be biased but was laughing when it stated that interracial children are more attractive than non interracial children. Was curious if anyone else found humor in this article? They put Nazi Germany right after The United States when talking about interracial marriage being illegal. Better watch out you are a Nazi if you think that it should be. Unique Bob (talk) 02:36, 20 June 2024 (UTC)https://en.wikipedia.org/w/index.php?title=Talk:Interracial_marriage&action=edit&section=new
 * I find the use of the word "bias" as an adjective to be somewhat humorous. The idea of race having any definite meaning is also humorous. HiLo48 (talk) 07:34, 20 June 2024 (UTC)
 * Good catch 2601:680:C700:F60:A089:A163:C8D2:D430 (talk) 12:57, 20 June 2024 (UTC)

title: Talk:Interracial marriage


text:
User talk:Skarloey

Ravenglass and Eskdale Railway
May I ask why you delete information that I put in from the Stations of the RER?

May I remind you that this is an encyclopaedic article, which is aimed at the general public.

Alastair Carr (talk) 13:04, 25 December 2012 (UTC)

 * Alastair, the problem is that a lot of the information which you have added about the various stations is not of relevance to the article, and a lot of it is needlessly duplicated. It is simply unnecessary to include information about disabled access at intermediate stations (that sort of information is purely unencyclopaedic and quite honestly un-noteworthy). That sort of information would be more appropriate on the company's website than on Wikipedia, as is information about access to workshop buildings and the like - we can take it as a given that access is restricted. Also, is it really necessary to include the line diagram on each individual station's page? There is already the information box at the foot of each page, noting the station's location in relation to the others. Also, we do not need the diagram on the main R&ER page twice. I am still not particularly convinced about it having "collapsible" sections between stations, as all this succeeds in doing is restricting the amount of information which is given.
 * When editing Wikipedia, I try to stick to the maxim - use what is useful; discard what is not.
 * Skarloey (talk) 19:03, 25 December 2012 (UTC)

Ravenglass and Eskdale Railway
Hello. There is currently a discussion at Administrators' noticeboard/Incidents regarding an issue with which you may have been involved. Thank you.

Alastair Carr (talk) 14:37, 25 December 2012 (UTC)

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Sources for Douglas Ferreira (locomotive)
Hallo, as part of the WP:FEB24 project of adding sources for unsourced stuff I'm looking at Cumbria-related articles and found Douglas Ferreira (locomotive) which you created in 2008. I'm delighted to see that you're still editing: could you go back to it and add some sources, perhaps?

I could probably find a single-line mention of the engine somewhere and add a ref and technically change Unreferenced into Refimprove, but you could undoubtedly do much more than me for it. Thanks. Pam D  08:27, 17 February 2024 (UTC)

title: User talk:Skarloey


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User talk:Maxl

User talk:Maxl/Archive1

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Talk:Liz Cheney

General statement regarding edit requests
There is some sense in an earlier statement that the bar for suggesting changes to this article is being set artificially high.

WP editors are called on to edit boldly. This fact does not change in the case of an article's semi-protected status. To suggest that all edits, including ones that seek to provide additional or clearer sources (or ones aiming to improve article compliance with WP:VERIFY and other guidelines) must seek prior consensus for suggested changes is to make all editing of this article onerously time consuming (even more so than is the semi-protected process already). The point of the current status is to protect it from vandalism, not to protect it from change.

To require consensus building before all edits is to suggest the article is technically, editorially, and intellectually perfect already. This has never been a presumption here. We need keep the bar where it has always been, and process all reasonable edit requests that clearly improve article quality (as addition of a further source with more expansive coverage of a sentence's content almost always does).

Cheers, a former professor, and old former logging editor with many tens of thousands of edits over a decade. 2601:246:C700:C:8D5C:71C1:CFE9:5128 (talk) 15:56, 16 July 2022 (UTC)

 * Well said, anti vandalism doesn't equal the same as approved consensus posts ONLY. We have to always be contributing edits, trust the process and it will weed out the edits that the consensus doesn't feel meet Wikipedia standards. Eruditess (talk) 22:04, 24 August 2022 (UTC)
 * , consensus is not needed for all edits but rather for controversial edits. According to Edit requests:

 * "In general, if you want to make an edit request

 * Propose a specific change on a talk page. Don't add an edit request template yet.

 * Once there is consensus for the change, and any final details have been worked out, put a template on the talk page along with a short, clear explanation.

 * A user who can make the edit will notice the template has been added, and will respond to the request.

 * Consensus isn't needed if a change is not controversial. Uncontroversial changes don't require sourcing, such as correcting typographical errors or disambiguating links. If this is the case, you don't need to establish consensus, but instead propose the change as stated above."

 * Not that difficult. Cullen328 (talk) 22:30, 24 August 2022 (UTC)

A notation in the article is missing
I’m a bit surprised but there should be some mention of when she moved to Wyoming because it was an issue when it happened: [https://www.politico.com/story/2012/08/liz-cheney-says-move-to-wyoming-not-about-politics-079838 Liz Cheney says move to Wyoming not about politics By Associated Press 08/17/2012 01:48 PM EDT CASPER, Wyo. — Liz Cheney says her recent move to Wyoming wasn’t motivated by politics. The daughter of former vice president Dick Cheney and her family moved from Virginia to Jackson Hole earlier this year. She’s also been making the rounds at Republican events around Wyoming, raising speculation that she could be preparing to run for office.] 71.190.233.44 (talk) 14:35, 13 August 2022 (UTC)

title: Talk:Liz Cheney


text:
User talk:ZackAldaz

Welcome!

'''Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my New-Users' Talk Page.'''

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Happy editing! Mel Etitis ( Μελ Ετητης ) 21:46, 9 Apr 2005 (UTC)

title: User talk:ZackAldaz


text:
Talk:Doctrines of Rastafari

Many Rastafarian reggae musicians, like Sizzla and Capleton, often in their songs call for the murder of homosexuals. was inserted in the text. I do think more of a link between reggae and homosexulaity may be appropriate, Ijahman Levi put some biblical quote against gays on a record cover. Maybe it should be covered in reggae, --SqueakBox 21:46, Apr 9, 2005 (UTC)

title: Talk:Doctrines of Rastafari


text:
The D-Day Story

The D-Day Story (formerly the D-Day Museum) is a visitor attraction located in Southsea, Portsmouth in Hampshire, England. It tells the story of Operation Overlord during the Normandy D-Day landings. Originally opened as the D-Day Museum in 1984 by Queen Elizabeth The Queen Mother, it reopened as the D-Day Story, following a refurbishment funded by a £5 million Heritage Lottery grant, in March 2018. The museum building was designed by the then city architect Ken Norrish.

Contents
The story is told in three parts: Preparation; D-Day and the Battle of Normandy; Legacy and the Overlord Embroidery.

The Legacy gallery features the Overlord Embroidery, commissioned by Lord Dulverton to remember those who took part in D-Day and the Battle of Normandy. The embroidery took twenty members of the Royal School of Needlework seven years to complete and measures 272 ft long. It consists of 34 different panels. Film clips of veterans talking about their experiences give visitors further insight into what took place.

Other major exhibits include a Sherman tank and a Churchill tank, both displayed on the tank deck of the newly restored LCT 7074, the last surviving D-Day landing craft. Other vehicles in the collection are a Sherman BARV and a DUKW amphibious vehicle. In addition there is a replica infantry landing craft as part of an audio-visual display. There are reconstructions of the operations room at Southwick House, a 1940s sitting room and an Anderson shelter.

The museum is run by Portsmouth Museum Services, a branch of Portsmouth City Council, and is supported by the Portsmouth D-Day Museum Trust, a registered charity.

Refurbishment
The museum closed in March 2017 for one year to undergo a £5 million refurbishment and allow for conservation work on exhibits. New exhibits include the "pencil that started the invasion" – the pencil used by Lt. Cdr. John Harmer to sign the order for Force G, the naval forces assigned to Gold Beach, to sail to Normandy.

title: The D-Day Story


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Panzer Dragoon Orta

Panzer Dragoon Orta is a rail shooter game for the Xbox, developed by Smilebit and published by Sega. The fourth Panzer Dragoon game, it was released in Japan in 2002 and in North America and Europe in 2003. The story follows a girl, Orta, who is freed by a dragon and embarks on a quest to prevent the abuse of ancient technology. The gameplay features the player moving an aiming reticle and shooting enemies while the dragon flies through 3D environments on a predetermined track.

Production of Orta began in 2001. The previous Panzer Dragoon development team, Team Andromeda, had disbanded after the release of Panzer Dragoon Saga (1998). Around a dozen staff returned to work on Orta, including the artists Takashi Iwade and Kentaro Yoshida, the composer Saori Kobayashi and the battle designer Akihiko Mukaiyama, who directed Orta. While the greater power of the Xbox allowed for more freedom in gameplay and graphical design, the production was troubled by a lack of art design direction and problems with the team's graphical and gameplay ambitions.

Panzer Dragoon Orta received positive reviews, with praise for its gameplay and art design. Several publications have named it one of the best Xbox games, and it is remembered favorably for its gameplay and technical achievements. Panzer Dragoon staff have voiced mixed feelings regarding Orta for its continuation of the story after Saga. Orta was the final Panzer Dragoon game until the 2020 remake of the original Panzer Dragoon.

Gameplay
Panzer Dragoon Orta is a single-player rail shooter which spans ten levels of varying lengths and difficulty, covering a variety of environments and each housing a boss. Gameplay consists of the player controlling the protagonist Orta and her dragon, navigating levels through an aiming reticle that can be moved over the whole screen; while the player's path is predetermined, alternate routes can be opened based on in-game actions. The story is communicated though a combination of CGI and real-time cutscenes and dialogue during gameplay, with in-game speech using the fictional language of Panzer Dragoon with subtitles.

The player has a 360-degree field of view and can look ahead, left, right, and behind the dragon. Enemies come from all directions, varying in size and health, and appear on an on-screen radar that monitors the dragon's surroundings. The player can fly around some enemies in 90-degree increments, allowing them to avoid enemy fire and target specific areas. The two forms of attack are Orta's blaster, which uses a free aim mode for continuous fire, and the dragon's lock-on attack, which fires at a limited number of targets at once. There is no ammunition limit, and both free-aiming and lock-on attacks can be used simultaneously. The "Berserk" attack, powered by a gauge that fills up when enemies are shot down, deals high damage to surrounding enemies while making the dragon invulnerable for its duration. Alongside standard flight, the dragon has a "Glide" function: limited by an automatically recharging gauge, the dragon can accelerate and decelerate around enemies, with acceleration dealing damage if it collides with an enemy.

Another element of combat is the dragon's ability to morph between three forms. These are Base Wing, the standard attack type which balances between offensive and defensive abilities; Heavy Wing, which is limited to the lock-on attack but has high defense; and Glide Wing, which has low defense and no lock-on but features an increased free aim attack. Fully destroying waves of enemies grants a resource called "Gene Base" that upgrades the current dragon form's attributes, such as health and attack power. At the end of each level, the player is scored on kill count, damage received, and the time taken to clear the stage boss. If the player is defeated, they receive a game over and must restart from the beginning of a level or the beginning of the boss stage.

Completing the main campaign unlocks an extras menu called "Pandora's Box", a feature which returns from Panzer Dragoon II Zwei. Content is unlocked by clearing various conditions, such as clearing the campaign on a certain difficulty or with a high kill ratio. The content includes a detailed encyclopedia of the game world, a bestiary of defeated enemies, an archive of concept art, story cutscenes for Orta, selected CGI sequences from earlier Panzer Dragoon games, and a port of the original Panzer Dragoon. The most prominent features are additional chapters focusing on different characters, playing out as short gameplay clips with some using visual novel-style story segments.

Plot
Orta takes place in a post-apocalyptic world where humans struggle to survive amidst an ecosystem of bio-engineered mutants, remnants of a devastating war. One faction, the Empire, had unearthed weapons from the pre-war Ancient Age, only to be brought low by the appearance of the Dragon of Destruction. The dragon and its previous riders destroyed the Towers, centers of the Ancients' technology, and broke the Ancients' hold on the world during the events of Panzer Dragoon Saga. Since then, the Empire has rebuilt itself, breeding dragon-like creatures called "dragonmares" as an aerial army with the help of an Ancient ruin called the Cradle. A girl named Orta, thought by some to be the daughter of Saga protagonists Edge and Azel, is kept prisoner in a tower by a tribe called the Seekers, as they fear she is a harbinger of doom. Orta is freed when the Empire attacks the Seekers' city with their dragonmares in search of Orta, due to her potential heritage, and she escapes by riding on the current incarnation of the Dragon of Destruction.

During her escape, Orta encounters Abadd, an Ancient Age android known as a "drone", who is also fleeing the Empire and offers to help her find her origins in exchange for access to Ancient Age technology. She is befriended by a tribe called the Worm Riders, who are taming the land's mutants. After an Imperial fleet attacks the Worm Riders, Abbad leads Orta to a ruin linked to the Ancients' Sestren Network, where Orta receives a posthumous message from Azel asking her to help restore the world. Abadd reveals that he plans to wipe out humanity and hoped to use Orta's DNA to breed a new drone army; when she refuses to cooperate, he attacks her and is fought off. Orta goes to the Empire's capital and destroys the Cradle; Abadd turns the dragonmares against their human controllers, but they are destroyed with the Worm Riders' aid. Orta then defeats Abadd and his dragon born from the Cradle. The Dragon of Destruction succumbs to its wounds, but post-credits scenes reveal that the dragon left a child, with the final scene showing Orta and the newborn dragon traveling through a rejuvenated landscape.

A sidestory unlocked during the campaign follows Iva Demilcol, the son of an Imperial soldier who was killed during Orta's escape. Iva is given his father's necklace and learns that his father worked on dragonmare production as a means of crafting medicine to treat Iva's chronic illness. The declining Iva is taken in by Seekers, forming a close bond with one of their number called Emid, who helps him find a final message from his father in the necklace. When the Empire attacks again, Emid helps Iva locate a supposed Seeker weapon. Iva activates it, revealing it to be a non-lethal repellent against mutants, with it also prompting the Seeker and Imperial soldiers to stop fighting.

Development
The Panzer Dragoon series saw moderate commercial success on the Sega Saturn. After the release of Panzer Dragoon Saga (1998), Sega restructured its departments, and the Panzer Dragoon studio, Team Andromeda, disbanded. Several Team Andromeda members left Sega, including the series creator Yukio Futatsugi and the artists Manabu Kusunoki and Kentaro Yoshida. A new Panzer Dragoon was pitched for Sega's next console, the Dreamcast, but the console did not meet the technical requirements. There was also a feeling that the original trilogy for the Saturn had reached its logical conclusion.

Following the commercial failure of the Dreamcast, Sega left the console market and began developing and publishing games for other platforms, including extensively supporting Microsoft's Xbox. Discussions about a new Panzer Dragoon began in 2000. Takayuki Kawagoe, who became the producer, felt the Xbox was powerful enough to fulfil his vision for a new game in the series. It was originally proposed as Panzer Dragoon Vier, with "Vier" being German for "Four", but was given a different title to distance it from the other games.

Akihiko Mukaiyama, who had worked on Saga as battle planner, made his debut as a director with Orta. Kawagoe approached Mukaiyama first about the project. Mukaiyama initially declined, but he was repeatedly approached and told that the game would not be made if he were not involved. Not wanting that responsibility on him, Mukaiyama agreed to direct. Once the project was approved, the team pitched it to Microsoft, who agreed due to Sega's previous Xbox support.

Development began in early 2001 at Sega's new studio Smilebit and lasted eighteen months. Kawagoe said that ten members of Team Andromeda worked on the game, with other members advising them while working on other projects. In a different interview, Mukaiyama said there were seven development and five sound staff carried over from Team Andromeda, comprising twelve of the thirty staff at the time. Several members joined because of their love for the series. Takashi Atsu, a series newcomer, was a lead programmer. Takashi Iwade was both the lead designer and a lead programmer alongside Atsu. At its peak, the team comprised fifty people.

Design
Mukaiyama conceived Orta as a rail shooter, although Kawagoe noted they considered other genres. In a later interview, Mukaiyama said two pitches were created for Orta, one a rail shooter and the other a strategy game with online elements. Kawagoe picked the rail shooter pitch, feeling it best communicated the story and world. The team aimed to create a game accessible to both newcomers and fans, expanding upon the Panzer Dragoon universe rather than reimagining it.

Smilebit had been working with the Xbox hardware for their 2002 games Jet Set Radio Future and Gunvalkyrie, and it compared favorably with PC hardware of the time. They also had experience with DirectX through their work on PC ports of Sega games, so they quickly understood the hardware. Yoshida had hoped for characters to fly into clouds, similar to scenes from the 1986 film Castle in the Sky, but as they were instructed in the console by the programmers they found this was not possible. While expressing interest in Xbox Live, Microsoft's online gaming service, Mukaiyama wanted the team to focus on making a polished single-player experience.

During the planning phase, the team looked at the first two Panzer Dragoon games with a view to expand on them, but, according to Mukaiyama, they were hesitant to simply repeat what had been done before. One developer, Masayoshi Kikuchi, played both games extensively and offered feedback so the designers could refine Orta design. The team wanted to combine gameplay elements from all three previous Panzer Dragoon games. The real-time dragon morphing mechanic had been cut from Saga due to the Saturn's technical limitations, but the Xbox allowed its inclusion in combat. Movement around a 360-degree axis while shooting was included to distinguish Orta from other rail shooters. Mukaiyama has said that this caused friction within the team, as the programming staff felt free movement was wrong for a rail shooter.

Dragon morphing was included to create variety and tactical depth for players, but it required extensive trial and error to feel natural. Mukaiyama derived the morphing system from the character swapping mechanic of Magic Knight Rayearth (1995). The system required two different interacting morphing systems for the dragon's internal bone structure and its external appearance; this was complicated by the additional need to alter texture mapping. The morphing animations were initially much longer, but they were shortened after feedback. Sega of America requested more content, against the team's expectations for the rail shooter genre. Mukaiyama decided to push for ten levels despite designer protests that it was impossible, reused the series' recurring Pandora's Box system to offer bonus stages, and added difficulty modes while keeping it challenging overall. The aim was to prompt players to understand and use the game systems. Kawagoe felt that they had mostly created the game as planned. A notable extra was a port of the original Panzer Dragoon, which was converted from that game's Windows port by its original programmer Kazuhisa Hasuoka. The Windows port was used instead of a direct port from the Saturn version due to difficulties with the original's complex source code.

Art and graphics
With a background in role-playing games rather than shooters, Mukaiyama initially had trouble adjusting to his role as director, as his usual approach of designing game mechanics first was leading to a game that was not fun to play. During early demos, it saw mixed reactions from players. As development progressed, Mukaiyama realized that Orta was missing the trademark presentation and aesthetic style which had made the Panzer Dragoon series stand out, resulting in broad redesigns. There was also tension between the new staff, as represented by Mukaiyama, and the Saga veterans, particularly due to Mukaiyama's negative feedback on early art and creature designs being too similar to earlier games. This caused a deadlock between the staff, worsened when Mukaiyama wanted to bring Yoshida back on board, as Iwade felt his ability in the job was being questioned. When Yoshida joined, he and Iwade were able to work out their differences and divide the workload efficiently, smoothing the development process. To facilitate staff communication and allow for greater communal input on game and art design, a private forum was set up for posting sketches and concept ideas.

Iwade, a visual effects artist on earlier Panzer Dragoon games, became art director for Orta. The team wanted to preserve and honor the work of artist Manabu Kusunoki, who had helped define the series' visual identity. The art design drew from both the earlier Panzer Dragoon games and the photography of National Geographic. Following positive reactions to cel shading for Jet Set Radio (2000) and its sequel, the Orta team considered a cel-based graphic design, but ultimately chose realistic graphics as earlier series entries had attempted. Orta's dragon was designed by Masaharu Nakayama, while enemy designs were handled by Iwade, Ryuta Ueda and Koichiro Tamura. Tamura was also in charge of concept art. Both Ueda, a series veteran who had worked on Zwei and Saga, and Iwade created dragon designs which were rejected by Mukaiyama as too similar to dragons from earlier games. This resulted in Nakayama being brought in, and tensions developed between Iwade and Mukaiyama over the rejected proposals. Yoshida's directive from Mukaiyama was to "make a great picture", managing to work with Iwade to bring the art design back on track.

Yoshida noted that the Xbox's improved hardware meant the hand-tailored design forced by the Saturn's limitations became unnecessary; this, together with the increased team size for Orta, had changed the graphics development process enough that some of the series' original atmosphere was lost. In a separate interview, Mukaiyama said the team wasn't overly concerned with preserving that continuity, viewing Orta as a fresh start for the series; the new hardware allowed for previously impossible things, such as rendering real-time sandstorms. There was a prolonged trial-and-error period when creating character models, particularly with Orta and how her clothing and hair moved. Maquettes were created for the dragons, both during their early design phases and for their final designs. The maquettes gave the modeling and movie teams a solid reference for character models. The graphics, handled by Atsu and Iwade, were designed to be cutting edge for the time.

Autodesk 3ds Max was used to configure real-time textures, a decision informed by its ease of use and the team being familiar with it from earlier Dreamcast and Xbox projects. The animation was created using Softimage 3D. Orta's model was created in Metasequoia, while all the other characters and creatures used 3ds Max and Softimage 3D. Rather than using motion capture, the models were animated by hand based on each character and creature's appearance. Several programs were created by Smilebit for managing the graphics: an event editor handled story cutscenes, a particle editor managed in-game special effects such as dragon fire and explosions, a motion design application to calculate and manage model movement, and an after-effects tool to manage and layer effects. Multiple layers for in-game texture maps and lighting were made possible using the Xbox software, with particular care taken to make the sky domes appear realistic. The CGI opening and story cutscenes, together with CGI promotional materials, were created by Buildup Entertainment. The opening cinematic, showing the dragon attack that frees Orta, was the most complex scene to animate. From storyboarding to the final product took six months to complete. A CGI opening was picked over real-time to keep with series tradition of having CGI openings.

Story
Compared to the desolate and post-apocalyptic setting of earlier games, Orta was set during a period where the world was rebuilding and life was returning. The narrative's dramatic style was inspired by unspecified American films. A theme in common with the earlier games was neither side being specifically good or evil, but defending their goals and mission, revealing the negative consequences of fighting. While previous Panzer Dragoon games had focused on male characters, Orta was given a female lead to represent the change in direction and new style. Orta was voiced by Yōko Honna, and Abadd by Shirō Saitō. Maaya Sakamoto reprised her role as Azel from Saga.

The story was co-written by Shigeru Kurihara and Kenichiro Ishii. Kurihara was creating the draft and Masaykui Goto creating cutscene storyboards before the art design had been finalized and the Xbox's hardware limitations were known. Three months were dedicated to creating the story, communicated through the CGI cutscenes, with their storyboards influencing both artistic redesigns for Orta and the motion of characters in-game. Alongside the main story, several side stories were included as unlockables, with the team putting in as many as they could within the development time; Mukaiyama remembered one story about a prominent side character that had to be cut, saying he would like to incorporate it into a potential sequel. Mukaiyama attributed the inclusion of sub-stories told from other perspectives to Smilebit's experience making Hundred Swords (2001), which included a similar feature.

Pre-release interviews and previews stated that Orta was a sequel to the other Panzer Dragoon games and set decades after the events of Saga,   though several staff later admitted the continuation of the story from Saga left them uneasy or conflicted. An ambiguous point was Orta's possible origin as the daughter of Edge and Azel, with team members sharing differing opinions. Kusunoki felt that Orta could be an alternate timeline where Edge lived and fathered Orta, while in his opinion Edge would have died during the end of Saga. Mukaiyama attributed his mixed feelings about continuing the storyline to the ending of Saga, purposefully leaving Orta's origins ambiguous and noting that the North American localizers made the overall story even more ambiguous. He hinted that Orta was possibly an alternate story or prequel to Saga, noting that there was no definitive answer among the team members. In addition to being the lead character's name, the title Orta had multiple meanings. In the in-universe language, it was translated as "rebirth" and "dawn" and tied into the story's themes. A similar word in German refers to the tip of a sword, while Mukaiyama later described it as a play on the word "alter", short for "alternative".

Music
The music for Orta was principally composed by Saori Kobayashi, returning from Saga. Additional tracks were composed by Yutaka Minobe of Wavemaster, who had worked as a composer and arranger on Skies of Arcadia (2000). The sound producer was Panzer Dragoon veteran Tomonori Sawada. As she loved the Panzer Dragoon universe, Kobayashi felt honored to return. Work on the music began in 2002. Compared to the trial-and-error work done with Saga to fit the Saturn's hardware limitations, Kobayashi had greater freedom on Xbox hardware. By this point, she had become a freelance composer, so had less direct access to materials to provide inspiration. The music retained her established ethnic-influenced elements, continuing from the soundtracks for Zwei and Saga. There was minimal interaction with the rest of the staff, with Kobayashi being given story details and level plans to create tracks. She had great freedom when creating the score, although the change in genre and issues with the team during production proved stressful. It was also her first time writing music for the rail shooter genre.

The soundtrack's overall them was portraying Orta's feelings. Comparing her musical approaches for Saga and Orta, Kobayashi said that while she allowed the music to fade out in Saga, for Orta the music had a definitive conclusion reflecting the narrative's tone. She was able to have greater musical variety compared to Saga. The ending theme, "Anu Orta Veniya", was performed by Eri Itō, with chorus work by Yumiko Takahashi. Takahashi, known for her work on the Suikoden series, was a fan of Kobayashi's work and Kobayashi asked her to perform vocals for Orta shortly after meeting her. The song lyrics were written by Kurihara and performed in the fictional language of the Panzer Dragoon universe. The track was arranged by Hayato Matsuo, who felt it important to emphasize the vocals while blending them with orchestral and "ethnic rhythm sections". Both Itō and Matsuo had worked in the same roles for the Saga ending theme. Kobayashi fondly remembered her work on both Orta and Saga, saying it gave her opportunities for mixing orchestral and electronic elements in music.

A soundtrack album for CD was published by Marvelous Entertainment on 27 December 2002, featuring all the game's tracks, in addition to an instrumental version of "Anu Orta Veniya". The soundtrack booklet also included a Japanese lyric translation of "Anu Orta Veniya". An English release was published by Tokyopop on January 21, 2003; this release also included the title theme of Panzer Dragoon, the theme "Lagi and Lundi" from Zwei, and the Saga ending theme "Sona Mi Areru Ec Sanctitu". Selected tracks were included in an album of Xbox game music published by 5pb on March 24, 2006. The original Japanese album was released digitally worldwide on February 14, 2018 alongside the other Panzer Dragoon soundtracks to celebrate the 20th anniversary of Saga.

Release
An Xbox Panzer Dragoon was announced in March 2001 as part of a multi-game deal between Sega and Microsoft. Prior to its reveal, it was referred to as "Panzer Dragoon (Latest Version)" and "Panzer Dragoon Next". It was first shown under its final title at E3 2002. Originally scheduled for a worldwide release in 2002, it was delayed into 2003 in the West to better tie the story and gameplay, add additional branching paths, and continue polishing. Mukaiyama said the graphics were taking longer to design than anticipated, needing to adjust to new technology and to refine gameplay and level design, which were turning out below expectations. Orta and design models for the dragon creatures were exhibited at the "Character Expo", a media event held in Minami-Aoyama in November 2002 to promote different media projects. An additional promotional campaign allowed fans to enter a competition with themed hoodies as prizes, with the campaign revolving around understanding words in the fictional language used in a television commercial.

Orta was released in Japan on December 19, 2002. The limited edition included a CD featuring arranged five-minute compilations of music from each Panzer Dragoon game. Orta was released in North America on January 14, 2003, and in Europe on March 21. Sega published it in all regions, while Infogrames was a distribution partner in Europe. It was made backward compatible with the Xbox 360 on April 19, 2007. The European 360 version crashed after the third level, which was fixed in 2018 with a patch. Orta was made backward compatible for the Xbox One on April 17, 2018.

Sega produced 999 Orta-themed Xbox consoles for sale through their Sega Direct service; the design was pure white with a printed image based on an Ancient Age fossil. A guidebook featuring was published by ASCII Media Works on February 21, 2003. A novelization was written by Yu Godai, illustrated by Shinya Kaneko and published by Media Factory on December 17, 2004. Buildup Entertainment collaborated with Sega to release 500 cast statues of Orta and her dragon in April 2004.

Reception
Orta met with "universal acclaim", according to review aggregator website Metacritic, receiving a score of 90 out of 100 based on forty-one critic reviews. Its visual design, unlockable content, and faithfulness to the series were consistently praised, while critics were displeased with the short play-time and dated, on-rails structure. Opinions of the controls and the increased difficulty were mixed.

In their review, Famitsu gave it praise for its visuals and gameplay, positively noting both high challenge and freedom of choice for players. The dedicated sibling magazine Famitsu Xbox gave it a higher score than the main magazine, citing it as the best Xbox release to date and lauding its adaptation of the series gameplay and quality of its graphics. The three reviewers for Electronic Gaming Monthly gave it high praise, lauding its graphics, gameplay and unlockable content compared to other rail shooters of the time; common points of criticism were its high difficulty compared to earlier Panzer Dragoon games, and its short campaign. Edge felt the additional controls and variety hindered enjoyment compared to Sega's earlier rail shooter Rez, and described the music as less memorable than earlier entries, while lauding the art design and number of unlockable extras alongside nostalgia for earlier entries in the series and genre.

Eurogamer's Kristan Reed called Orta "a refined, well designed and intelligent title [marking] a real progression in the genre", with his only complaints being repetitive gameplay and a short campaign. Chet Barber of Game Informer was positive, and particularly praised the audio and art design, but noted some control problems making dodging difficult. Andrew Reiner, in a second opinion for the magazine, praised Smilebit's effort in recreating the series' original gameplay and their graphical and technical achievements on the platform, but noted a lack of innovation over earlier entries. Both critics mentioned its archaic design compared to other games of the time. Greg Kasavin, writing for GameSpot, noted the conventional gameplay but otherwise lauded Orta both compared to other series entries and other games on the Xbox at the time, citing its overall presentation and extra features as well above what other games offered in its genre.

GamePro described Orta as existing as two entities: one "a 10-stage rail shooter, an archaic and straightforward game style that's been all but shunned and forgotten in this modern era of fully immersive 3D worlds", the other "a massive sensory overload machine" due to its complex and beautiful level design. GameSpy's Christian Nutt felt Orta would appeal to both hardcore gamers, and those who appreciated music and aesthetics more due to these elements being so strongly presented, with his main complaint being pacing issues and an unoriginal if well-told story. IGN's Hilary Goldstein only felt negatively about its short length potentially turning off players compared to other recent Xbox releases, otherwise praising it as one of the best rail shooters available. Jon Ortaway of Official Xbox Magazine felt Orta was a worthy successor to the earlier Panzer Dragoon series, lauding its graphics and audio, with his main complaints being its high difficulty and harsh checkpoint system.

Sales
In Japan, Orta sold over 33,400 units by the end of 2002, according to data analysis company Media Create, finishing as the 285th-best-selling game in the region. It was considered popular enough in Japan to be re-released through Xbox's budget Platinum Collection brand. According to The NPD Group, Orta was the fifth-best-selling Xbox game in the region during January 2003. Sales were disappointing in the United Kingdom, selling roughly 10,000 units, numbers similar to two other Sega games released for the platform in the region, The House of the Dead III and ToeJam & Earl III: Mission to Earth. Orta was not mentioned in Sega's fiscal report for the financial year ending in March 2003.

Accolades
As part of its review in 2002, Famitsu gave Orta a Platinum Award, ranking it alongside Metal Gear Solid 2 Subsistance and The Legend of Zelda: The Wind Waker. It was nominated in the "Best Action Game" category in the 2003 Spike Video Game Awards, but lost to True Crime: Streets of LA. At the 2003 National Academy of Video Game Trade Reviewers awards, Orta won the "Art Direction, Cinema" award. GameSpot named it the best Xbox game of January 2003. Orta has been consistently listed as one of the best games for the original Xbox, by publications including GamesRadar, Digital Trends, and IGN, which described it as the "pinnacle of rail shooters".

Legacy
Alex Wawro of Gamasutra called Orta the best Panzer Dragoon game for gameplay refinements and the technical and graphical achievements made possible by Xbox. In a 2007 series retrospective for 1Up.com, James Mielke said that Orta had aged well both mechanically and aesthetically, and was graphically equal to many games on the Xbox 360. In 2008, Joystiq said it would be a good candidate for porting to the Wii, complimenting the quality of its gameplay and graphics. In January 2011, Darren Jones of Retro Gamer said that it had aged well, predicting it would be seen as a genre classic, and that it represented the older development ideals of Sega as a risk-taking company. Orta was featured in the book 1001 Video Games You Must Play Before You Die (2010), and was selected by the Smithsonian American Art Museum for its Art of Video Games exhibition in 2011.

As part of the 1Up.com retrospective, Kawagoe and Futatsugi were interviewed. Kawagoe felt that, while the team were successful in bringing the series to a new platform, fan expectations had an impact on Orta perception. Kawagoe also noted the development of future entries depended on fan demand. Futatsugi felt the team were held back by confining themselves to the Panzer Dragoon universe rather than designing a game based on an original concept. Later opinions from staff including Mukaiyama and Kobayashi on Orta were mixed, mainly due to how it continued the narrative past its planned conclusion in Saga. SaiTong Man, combat designer for Heavenly Sword, credited the dragon forms in Orta as an inspiration for protagonist Nariko's three combat stances.

Future Panzer Dragoon projects, ranging from a Saga sequel to a film adaptation, were dependent on reactions to Orta. The Panzer Dragoon series became dormant following Orta, a fact attributed to low sales for the series as a whole. In 2018 publisher Forever Entertainment announced remakes of the first two Panzer Dragoon games, and 2020 saw the announcement of a virtual reality game based on sequences from the first three games.

title: Panzer Dragoon Orta


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The Hoobs

The Hoobs is a live-action/animated children's television series created and produced by The Jim Henson Company and Decode Entertainment for Channel 4. A total of 250 episodes were produced across five series.

Plot
It stars five creatures called Hoobs (Hubba Hubba, Iver, Groove, Tula, and Roma) from the fictional Hoobland, and their interactions with Earth and the human race. In each episode, they try to find the answer to a question to be put in the great Hoobopaedia created by Hubba Hubba, back in Hoobland, in hopes of learning all there is to know. Hubba Hubba remains in Hoobland to await the report from the other Hoobs, Iver, Groove, and Tula live in the Hoobmobile, and Roma travels to all parts of the world. The five creatures are muppets, but the show also includes some animated sequences as well as live motion of human children who explain concepts to the Hoobs.

Series
A typical episode format involves:
 * Hubba Hubba introduces the viewers to the Hoobs and the opening titles roll, some of the fifth season episodes have trimmed the introduction before the theme song.
 * A preamble during which a question to be answered is stumbled upon.
 * Hubba Hubba formalizes the task.
 * Roma is e-mailed the question in order for her to provide a report.
 * Hubba Hubba downloads some pictures or shows videos from HoobNet, relating to the question.
 * A line of dialogue with a question and statement ending "who", "what", "when", "where", "why" or "how" causes a cutaway to a Motorettes' performance of that word.
 * There is usually a number of songs from the Hoobs or Motorettes, in some cases with familiar lyrics, or a familiar tune.
 * The Hoobs visit the Tiddlypeeps (human children) twice, as "they're smart, they're fun, they know."
 * One Hoob drives left hand drive or right hand drive, one visits and turns the key and the third may participate in the B-story.
 * An animated drawing story from a Tiddlypeep is aired, relating to the question. But in the episode "Stories", Tula makes a story herself which Hubba Hubba then puts on HoobNet and gets a Tiddlypeep to tell it.
 * Roma reports back to the other Hoobs about the related subject on the Hoobycomputer.
 * Various inappropriate solutions are rejected for an answer, just in time.
 * Hoob News summarizes the adventure then the end credits roll.

Other series

 * Hello Hoobs – the five-minute "Hello Hoobs" segment includes excerpts from the English-language version, edited to function as a teaching tool. Targeted at viewers between the ages of four and eight, the segment uses the Hoobs to expand English-language vocabulary and explain rudiments of grammar. The stated goal was to teach 400 words and 150 different expressions. The segment airs immediately prior to the half-hour The Hoobs broadcast on a weekly basis, and is compiled into a half-hour weekend broadcast for Southern Europe, to serve as a review of knowledge.

Characters

 * Iver: The purple leading male Hoob figure of the threesome. He is very punctual and business-like, but likes to have fun, too. Iver is a great doer, but sometimes he tends to be a bit of a worrier.
 * Groove: The green male Hoob with his green Twizzletuft covering his eyes who is always cool and relaxed, and a little slower than the others. He is also a little greedy and shy and a bit more hesitant to leave the Hoobmobile. He has a talent for making music, and he enjoys collecting things.
 * Tula: The pink female Hoob on board. She is sympathetic, caring and enthusiastic, though she's sometimes a little tiring to have around. Tula is very creative and loves crafts.
 * Roma: The orange female explorer Hoob who travels around the world, gathering information for the Hoobopaedia by talking to the Tiddlypeeps. Roma does neither live in nor drive the Hoobmobile, but she frequently reports all her discoveries to Iver, Groove and Tula through video messages and sometimes she visits the Hoobmobile to help them with their questions. Roma drives and rides a motorcycle called a Hooby Picki Picki, which is powered by one Motorette. In the series 3 episode "Roma's Visit" Roma talks to the Tiddlypeeps.
 * Hubba Hubba: The blue male leader of the Hoobs. From his home base in Hoobland, he updates the Hoobopaedia with all the info that Iver, Groove and Tula collect during their stay in our world. In the season 5 episode "The Big Bonk" Hubba Hubba comes to visit the Hoobmobile and talks to the Tiddlypeeps on the Peep Planet and does Hoob News all by himself.
 * The Motorettes: Three robotic creatures that live in engine of the Hoobmobile. Their names are Tootle (Female; Blue/Lime Green), Timp (Female; Yellow/Orange Red), and Twang (Male; Pink Magenta/Purple). The Motorettes operate the engine by singing and making music. There is also one that powers Roma's motorcycle, the Hooby Picki Picki.

Puppeteers

 * Iver − voiced by Don Austen
 * Groove − voiced by John Eccleston (series 1−3) and Mark Jefferis (series 4 and 5)
 * Tula − voiced by Julie Westwood
 * Roma − voiced by Gillie Robic
 * Hubba Hubba − voiced by Mark Jefferis (series 1−3, 4 (Occasionally)) and Brian Herring (series 4 and 5)
 * The Motorettes − voiced by Rebecca Nagan (Tootle), Wim Booth (Timp) and Mark Jefferis (Twang)
 * Steven Kynman, Victoria Willing, Ivestyn Evans, Robert Skidmore and Susan Beattie served as assistant puppeteers in the series.
 * Mak Wilson, Katherine Smee, Dave Taylor, Jason Hopley and Jamie Shannon served as puppeteer accountants in the show's final series and on Hooby Happy Holidays on Sprout.

(Mark Jefferis was also lead singer of the show's opening theme and The Voices of the Hoobmobile's Motorettes also sang the music track that powers Roma's Hooby Picki Picki)

Production
Channel 4 announced in November 2000 that a new educational series, titled "The Hoobs", had been developed for a preschool audience. In a £20 million joint venture between Channel 4 and The Jim Henson Company, the channel commissioned 250 half-hour episodes which were to be broadcast from early 2001 (to replace Sesame Street). The series was set to be the biggest preschool series on British television as it was said that "Channel 4 hopes its Hoobs will be the new Teletubbies and the new Tweenies" and wished from it to match its success.

Executive vice-president, Angus Fletcher, of the Jim Henson Television Company commented that "We are delighted to have the opportunity to pioneer a groundbreaking format which will address the needs of the first truly multi-media generation."

United Kingdom
The series premiered on Channel 4 on 15 January 2001 from 6:00am to 7:00am, with two episodes being broadcast each weekday morning. The episodes were repeated from 11:00 am, finishing its run of 250 episodes on 3 January 2003. Although the series ceased production in the United Kingdom in July 2002, it was regularly repeated in the same early morning time slot for several years afterwards. It was temporarily taken off the schedule every year during the Christmas period and returned in the new year. 2014 was the final year that the series was repeated, as it has not since returned.

It also aired on Nick Jr. UK from 2002 to 2004.

International
It has also been shown in other countries, including North America (the series formerly airing on PBS Kids Sprout) and Australia airing on both ABC and ABC2 from 4 February 2002 to 2 July 2011. In Poland it aired on Polsat JimJam and TV4. It aired in Hungary on JimJam. In Spain, it was on Telemadrid and on K3 in Catalonia. Hop! in Israel, In Italy, "Hello Hoobs" was on JimJam from Sky. In Germany, the show aired on KiKA. In Latin America, the show aired on Semillitas. In Greece, the show aired on Alter Channel. In Ireland, it was screened on TG4, where it was dubbed in Irish. In Hong Kong, it was aired on TVB.

Home media releases
From 2001 to 2003 in the United Kingdom, Columbia TriStar Home Entertainment released four VHSs in the United Kingdom each containing two episodes: "Finding Out", "Holidays", "Funny Faces" and "Groove's Wish". Three of the tapes were also released as a bi-pack, and a promotional tape named "Meet the Hoobs" was also released.

"Groove's Wish" was also issued out on DVD by CTHE in April 2002, which included an extra episode. Another DVD - "Hooble Toodle Doo!", was released in September 2005 by HIT Entertainment.

Video game
A video game based on the show was released for the PlayStation on 7 June 2002, developed by Runecraft and published by Sony Computer Entertainment Europe.

title: The Hoobs


text:
User talk:AED

Laser Eye Treatment
Would there be any change of a sep Laser Eye Treatment article instead of simply covering the topic in Refractive surgery? Please discuss. frummer 19:54, 21 December 2006 (UTC)

Would like your views about an AfD
Thought you might like to add your comments about this article: List of articles related to quackery

It has been recommended for deletion. Please add your comments here:

AfD    Thanks Steth 03:45, 4 January 2007 (UTC)

Bates Method
Hi, I'm having some trouble stemming the tide of nonsense appearing on the Bates Method page. I wonndered if you could request some assistance from qualified souls on the project page? I'd appreciate it. Famousdog 14:39, 19 February 2007 (UTC)

 * You haven't edited for a while, which User SeeYou is taking as 'evidence' that I am a sockpuppet for you! I have taken SeeYou to arbitration over his/her baseless accusation of sockpuppetry against myself and you. See Requests_for_arbitration Famousdog 14:36, 24 April 2007 (UTC)

Clarence Carter
Hi

Waaay back in June 2006 you placed an tag on Clarence Carter. I've cleaned up the page a bit and added some references, but don't know if that's enough to remove the tag. Could you take a look and let me know?

Paul Tracyundefined 21:42, 4 June 2007 (UTC)

Accommodation (eye)
I would appreciate guidance from you or one of your colleagues on this article (see Talk:Accommodation (eye) and Help desk for background). The balance between the classic Helmholtz theory and the Schachar has been upset with the last edit "Ronaldaaron" edits, and one of the admins is discussing adding a COI flag. I am an IT professional not an Ophthalmologist, so I whilst I can suggest a set of edits to fix this, these would be considered major and therefore should be made or at least peer reviewed by a domain expert. TerryE 03:05, 27 July 2007 (UTC)

Speedy deletion of Template:Extraocular muscles
A tag has been placed on Template:Extraocular muscles requesting that it be speedily deleted from Wikipedia. This has been done under section T3 of the criteria for speedy deletion, because it is a deprecated or orphaned template. After seven days, if it is still unused and the speedy deletion tag has not been removed, the template will be deleted.

If the template is intended to be substituted, please feel free to remove the speedy deletion tag and please consider putting a note on the template's page indicating that it is substituted so as to avoid any future mistakes.

Thanks. --MZMcBride (talk) 21:15, 4 February 2008 (UTC)

Links
Welcome to Wikipedia. Although everyone is welcome to contribute constructively to the encyclopedia, one or more of the external links you added do not comply with our guidelines for external links and have been removed. Wikipedia is not a collection of links; nor should it be used for advertising or promotion. Since Wikipedia uses nofollow tags, external links do not alter search engine rankings. If you feel the link should be added to the article, please discuss it on the before reinserting it. Please take a look at the welcome page to learn more about contributing to this encyclopedia. --Ronz (talk) 18:43, 4 March 2008 (UTC)
 * See also WP:RS and WP:SELFPUB --Ronz (talk) 18:43, 4 March 2008 (UTC)
 * pinholeglasses.org, --Ronz (talk) 14:15, 27 March 2008 (UTC)

request for input: eye-related article titles
There's a dispute brought on by changes in titles, already done or planned, by a user who I suspect does not have a close command of the language. Most urgently, I wonder whether you agree with the change from "Eye movement" to "Eye movement (sensory)"?

Talk:Eye_movement_%28sensory%29 TONY   (talk)  02:42, 30 June 2008 (UTC)

WikiProject Medicine/Dermatology task force
I wanted to know if you (or any friends of yours) are interested in dermatology, and would be willing to help me with the WikiProject Medicine/Dermatology task force? Kilbad (talk) 14:06, 18 October 2008 (UTC)

AfD nomination of Council for Refractive Surgery Quality Assurance
I have nominated Council for Refractive Surgery Quality Assurance, an article that you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/Council for Refractive Surgery Quality Assurance. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time. Flowanda | Talk 05:57, 29 November 2008 (UTC)

Contact lens GAR notification
Contact lens has been nominated for a good article reassessment. Please leave your comments and help us to return the article to good article quality. If concerns are not addressed during the review period, the good article status will be removed from the article. Reviewers' concerns are here.--TonyTheTiger (t/c/bio/WP:CHICAGO/WP:LOTM) 22:58, 14 September 2009 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:00, 23 November 2015 (UTC)

Letting you know
You have been added to WP:MISS. MainPeanut (talk) 00:25, 20 September 2021 (UTC)

title: User talk:AED


text:
Oregon Route 99E Business

Oregon Route 99E Business (OR 99E Business) is a business route through Salem, Oregon for Oregon Route 99E, which bypasses downtown via Interstate 5 (I-5). A portion of this highway was originally planned to be a freeway, signed as Interstate 305; however the proposed freeway was cancelled after community opposition.

Route description

The northern end of OR 99E business is at an intersection with OR 99E north of the Salem area. It runs east for approximately 1 mi along Salem-maintained Chemawa Road to an interchange with I-5 and Salem Parkway (officially Salem Highway #72) near Keizer. The highway then runs southwest along the parkway for approximately 3 mi, then turns south along the Commercial Street/Liberty Street couplet for another 2 mi. In downtown Salem, the highway skirts downtown along Front Street, where it interchanges with and shares an alignment with Oregon Route 22. OR 22/OR 99E then leave downtown via Pringle Parkway, skirting the southern edge of the Willamette University campus, then, via a pair of ramps, interchange with Mission Street. The highways then head southeast for 2.4 mi until an interchange with I-5 and OR 99E. This interchange marks the end of OR 99E Business; OR 22 continues to the east along North Santiam Highway.

History
The route which is now Dr Martin Luther King Jr. Parkway was originally planned to be a freeway (Salem Freeway #65), which was to be signed as Interstate 305. After originally being conceived only as a four-mile (6 km) spur of I-5 into downtown Salem, the I-305 project was modified and expanded by about 2.34 mi to include a new bridge across the Willamette River to meet OR 22, providing increased access to Polk County. It was designated as Salem Freeway Highway No. 65 by the state government in 1968. Local opposition cancelled the freeway in 1976 and the state government requested its withdrawal from the Interstate System in 1977. Despite the cancellation of I-305, Salem Parkway was later built as an undivided expressway.

The original alignment of OR 99E through Salem came from the south off I-5 onto Commercial Street and left to the north on Portland Road to cross I-5. In May 1986, due to Salem Parkway opening north of downtown, OR 99E was rerouted onto I-5 around Salem, and its old route south of downtown, along with the Salem Parkway and Chemawa Road north of downtown, became OR 99E Business. In March 1992, OR 99E Business was moved onto OR 22 southeast from downtown.

A section of OR 219 served part of this corridor, traveling on Broadway and River Road, until it was truncated.

Future
The Oregon Department of Transportation (ODOT) and the City of Salem are considering building an additional bridge across the Willamette River, north of the current Marion and Center Street bridges (which carry OR 22 across the river, and are the only river crossings for motor vehicles in the city). The exact location and alignment of this proposed new bridge and its connecting routes is presently under study, but generally, the routes being considered would connect to OR 99E Business at or near the southern end of Salem Parkway on the river's eastern shore, and provide access to both OR 22 and OR 221 on the western side. Such a route would be similar to that proposed for I-305.

title: Oregon Route 99E Business


text:
Qian Qianyi

Qian Qianyi (Suzhou dialect: ; 1582–1664) was a Chinese historian, poet, and politician during the late Ming dynasty. Qian was a famous author and poet; and along with Gong Dingzi and Wu Weiye was known as one of the Three Masters of Jiangdong.

Biography
Qian was born in Changshu county of Suzhou prefecture (now in Jiangsu province). His courtesy name was "Shouzhi" (受之) and his pseudonyms were "Muzhai" (牧齋) and later "Mengsou" (蒙叟). He passed the imperial examination in 1610 at the age of 28.

Qian knew many independent women from entertainment and artistic circles, whom he treated as equals. One was Ma Ruyu from Nanking, a consummate actress. She had had a good formal education. In addition she could paint and produce calligraphy in the square style. In her time she intimidated the male literati around her. Like many others of her kind, she abandoned her stage life and took up religion, building a Buddhist retreat. Another was Liu Rushi (1618–1684), who became his consort after he was impressed by her accomplishments. He treated her as his intellectual equal and companion on travels and social gatherings. Her poetry was preserved by Qian. Qian had important ties to the local writers and artists in the Jiading and Kunshan area outside modern Shanghai. In one case, he assisted Liu Rushi's fellow famous Gējì Dong Xiaowan to marry nobleman Maoxiang(冒襄) by paying off her 3,000 gold taels worth of debt and having her name struck from the musicians register.

Preceding this generation of individuals was the prose master Gui Youguang (1507–1571) who opposed the classicists headed by Wang Shizhen (1526–1590). The antagonism to the classicist school would continue throughout the life and writings of Qian Qianyi himself.

In 1644, Qian taught an excellent student in Nanjing: Koxinga (Zheng Chenggong), who would later defeat and expel the Dutch from Taiwan.

Works
His principal work and contribution to period history was the Liechao shiji 列朝詩集 (Lieh-ch'ao shih-chi), originally a lengthy anthology of poetry with attached biographies. At present the biographies alone are printed and the work has become an unmatched history of individuals from the middle and lower strata of 16th- and 17th-century Chinese society. His father gave him special instruction in historic classics. Qian showed an early interest in the classic Shishuo xinyu, a work of historical anecdotes. Like Qian Qianyi himself, others of his circle were closely involved in education and the revival of the study of antiquity as the basis of learning. Qian's Liechao shiji was published by his associate and printer Mao Jin, who like Qian himself, showed a concern for poorer scholars. Mao used money from his printing for charitable work and needy scholars.

title: Qian Qianyi


text:
Mad Professor

Neil Joseph Stephen Fraser (born 27 March 1955, Georgetown, Guyana) known by his stage-name Mad Professor, is a British dub music producer, engineer and remixer. He has collaborated with reggae artists Lee "Scratch" Perry, Sly and Robbie, Pato Banton, Jah Shaka and Horace Andy, as well as artists outside the realm of traditional reggae and dub, such as Sade, Massive Attack, The Orb, Gaudi, the Brazilian DJ Marcelinho da Lua, Grace Jones, and Perry Farrell.

Early life
Fraser became known as Mad Professor as a boy due to his fascination with electronics. He emigrated from Guyana to London at the age of 13 and later began his music career as a service technician. He gradually collected recording and mixing equipment, and in 1979 opened his own four-track recording studio, Ariwa Sounds, in the living room of his home in Thornton Heath.

Career
Fraser began recording lovers rock bands and vocalists for his own label (including the debut recording by Deborahe Glasgow) and recorded his first album after moving the studio to a new location in Peckham in 1982, equipped with an eight-track setup, later expanding to sixteen. Fraser's Dub Me Crazy series of albums won the support of John Peel, who regularly aired tracks from the albums. Although early releases were not big sellers among reggae buyers, the mid-1980s saw this change with releases from Sandra Cross (Country Life), Johnny Clarke, Peter Culture, Pato Banton, and Macka B (Sign of the Times). Fraser moved again, this time to South Norwood, where he set up what was the largest black-owned studio complex in the UK, where he recorded lovers rock tracks by Cross, John McLean, and Kofi, and attracted Jamaican artists including Bob Andy and Faybiene Miranda. He teamed up with Lee "Scratch" Perry for the first time in 1983 for the recording of the album Mystic Warrior (1989).

Recordings
Mad Professor has created 12 instalments of the Dub Me Crazy series and 5 albums under the Black Liberation Dub banner. The following is a partial discography of his original releases including collaborations with other artists and remixes.

Original recordings

 * 1983 – In A Rub A Dub Style
 * 1985 – A Caribbean Taste of Technology
 * 1992 – True Born African Dub
 * 1994 – The Lost Scrolls of Moses
 * 1995 – It's A Mad, Mad, Mad, Mad Professor
 * 1997 – RAS Portraits
 * 2001 – Dubbing You Crazy
 * 2001 – Trix in the Mix
 * 2005 – Method to the Madness
 * 2007 – Dub You Crazy
 * 2008 – The Dubs That Time Forgot
 * 2009 – Audio Illusions of Dub
 * 2012 – The Roots of Dubstep

Dub Me Crazy series

 * 1982 – Dub Me Crazy
 * 1982 – Beyond The Realms of Dub (Dub Me Crazy, Pt.2)
 * 1983 – The African Connection (Dub Me Crazy, Pt.3)
 * 1983 – Escape to the Asylum of Dub (Dub Me Crazy, Pt.4)
 * 1985 – Who Knows The Secret of the Master Tape (Dub Me Crazy, Pt.5)
 * 1986 – Schizophrenic Dub (Dub Me Crazy, Pt.6)
 * 1987 – Adventures of a Dub Sampler (Dub Me Crazy, Pt.7)
 * 1988 – Experiments of the Aural Kind (Dub Me Crazy, Pt.8)
 * 1989 – Science and the Witchdoctor (Dub Me Crazy, Pt.9)
 * 1990 – Psychedelic Dub (Dub Me Crazy, Pt. 10)
 * 1992 – Hijacked To Jamaica (Dub Me Crazy, Pt.11)
 * 1993 – Dub Maniacs on the Rampage (Dub Me Crazy, Pt.12)
 * 2022 – Covid Illusion (Dub Me Crazy, Pt.20-22)

Black Liberation series

 * 1994 – Black Liberation Dub (Chapter 1)
 * 1995 – Anti-Racist Dub Broadcast (Black Liberation Chapter 2)
 * 1996 – The Evolution of Dub (Black Liberation Chapter 3)
 * 1997 – Under The Spell of Dub (Black Liberation Chapter 4)
 * 1999 – Afrocentric Dub (Black Liberation Chapter 5)

Dub You Crazy With Love Series

 * 1997 – Dub You Crazy With Love
 * 2000 – Dub You Crazy With Love (Part 2)
 * 2008 – Bitter Sweet Dub

With Lee "Scratch" Perry

 * 1990 – Mystic Warrior
 * 1995 – Black Ark Experryments
 * 1995 – Super Ape Inna Jungle
 * 1996 – Experryments at the Grass Roots of Dub
 * 1996 – Who Put The Voodoo Pon Reggae
 * 1996 – Dub Take the Voodoo Out of Reggae
 * 1998 – Live at Maritime Hall
 * 1998 – Fire in Dub
 * 2000 – Lee Perry Meets Mad Professor
 * 2001 – Techno Dub

With other artists

 * 1981 - Kunte Kinte (with Aquizim)
 * 1982 – Rhythm Collision Dub (with Ruts DC)
 * 1983 – Punky Reggae Party (Positive Style) – Anti Social Workers
 * 1984 – Jah Shaka Meets Mad Professor at Ariwa Sounds
 * 1985 – Mad Professor Captures Pato Banton
 * 1989 – Mad Professor Recaptures Pato Banton
 * 1989 – Mad Professor Meets Puls Der Zeit
 * 1989 – Mad Professor Feat The Man Ezeke Remix an Dub for Sheila Giles
 * 1990 – A Feast of Yellow Dub (with Yellowman)
 * 1995 – No Protection (Massive Attack v Mad Professor)
 * 1996 – New Decade of Dub (with Jah Shaka)
 * 2000 – The Inspirational Sounds of Mad Professor
 * 2000 – Marseille London Experience (with Massilia Sound System)
 * 2003 – Psychobelly Dance Music (with Baba Zula)
 * 2004 – Dub Revolutionaries (with Sly and Robbie)
 * 2004 – From The Roots (with Horace Andy)
 * 2004 – In A Dubwise Style (with Marcelinho da Lua)
 * 2005 – Moroccan Sunrise (with Borrah)
 * 2005 – Dancehall Dubs (with Crazy Caribs)
 * 2009 – Revolution Feat. Pato Banton And Mr. Professor (With Tugg)
 * 2009 – Nairobi Meets Mad Professor – Wu Wei
 * 2010 – Izrael Meets Mad Professor and Joe Ariwa
 * 2010 – Frente Cumbiero Meets Mad Professor
 * 2010 – Rewired in Dub (with Pama International)
 * 2011 - Rewired in Dub (with Horace Andy)
 * 2012 – The Roots of Dubstep
 * 2013 – Cedric Congo Meets Mad Professor
 * 2014 - Method to the Madness (various Ariwa artists)
 * 2017 - In The Midst Of The Storm (Mad Professor Meets Jah9)
 * 2019 - Massive Attack vs Mad Professor Part II (Mezzanine Remix Tapes ’98)
 * 2019 – Mad Professor meets Gaudi

Remixes
Since the 1990s he has remixed tracks by Sade, The Orb, The KLF, Beastie Boys, Jamiroquai, Rancid, Depeche Mode, Perry Farrell and Japanese pop singer Ayumi Hamasaki. In 1995 he produced No Protection, an electronic dub version of Massive Attack's second album, Protection. He has also created a version of I&I for New Zealand reggae band Katchafire, three versions for New Zealand electronic group Salmonella Dub and twelve remixes for Japanese musician Ayumi Hamasaki.

A second remix album with Massive Attack is slated for release in 2018
 * No Protection – "Dub version of Massive Attack album Protection" (1995)
 * Soul Coughing – "Sugar Free Jazz (Multiple Remixes (Most were released on the Sugar Free Jazz: Slash In-House Cassette))" (1995)
 * Black Orpheus Dub – Dub version of Black Orpheus for the AIDS-benefit album Red Hot + Rio produced by the Red Hot Organization (1996)
 * Urrun Dub – Dub version of Fermin Muguruza's Urrun (1999)
 * Salmonella Dub – "For The Love of It" (1999)
 * Ayumi Hamasaki – "Who... (Who Dub It?)" from ayu-mi-x II Version US+EU (2000
 * Ayumi Hamasaki – "key (ARIWA Dub Mix)" from ayu-mi-x III Non-Stop Mega Mix Version
 * Salmonella Dub – "Tui Dub" (2002)
 * Ayumi Hamasaki – "Hanabi (Ariwa Dub Mix)" from RMX Works from Ayu-mi-x 5 Non-Stop Mega Mix (2003)
 * Salmonella Dub – "Mercy" (2004)
 * Miss Kittin – "Happy Violentine (Mad Professor Smiling Orange Dub)" (2005)
 * Ayumi Hamasaki – "Happy Ending (Mad Professor Remix)" from Ayu-mi-x 6: Gold (2008)

title: Mad Professor


text: User talk:64.63.221.41

title: User talk:64.63.221.41