text:
User talk:Geg

Invader Zim cancellation
Reference link #5 (interview with Rikki and Jhonen) doesn't talk about why the show cancelled at all, dude. The only citable statement out there is Jhonen's blog post from last year. The rest is forum discussions with crew members which isn't appropriate for citation. — Preceding unsigned comment added by Gingershepherd (talk • contribs) 20:57, 29 November 2011 (UTC)

curious
How could my revisions to the Invader Zim page regarding Operation Head Pigeons be up to wikipedia's standards? I was the one who cited Nickelodeon's tweet and moved the bit about Jhonen's blog post to its own section. Moving the blog post line wouldn't make sense unless other stuff would be mentioned. Was the tweet just not enough? Would a reference to our presence at Invadercon be good to add to it? Or is revival campaigns not something worth mentioning? I understand a lot of..shall we say..enthusiastic members do very piss poor jobs at trying to get us on here- sorry if those annoy you regular editors. We've written a status advising the otheres to basically leave it to me and those I'm asking about it, such as you. Hoping this is the appropriate place to bring my concern to your attention. If not then let me know that as well. This is all a learning process for me — Preceding unsigned comment added by Gingershepherd (talk • contribs) 19:53, 21 November 2011 (UTC).

Re: re: curious
(cross posting here just to be safe) Well I already understood you felt that way or I wouldn't be asking for your input. Would you care to elaborate?Gingershepherd (talk) 01:07, 23 November 2011 (UTC)

Thanks for rechecking that. Still curious about ways to bring the Head Pigeons topic up to standards.Gingershepherd (talk) 20:01, 30 November 2011 (UTC)

Chapter title
Why are you removing the "village" part of the title of Naruto chapter 567? There is a "no sato" in the Japanese title, which is translated as "of the Village". 187.105.9.211 (talk) 14:50, 24 December 2011 (UTC)

Naruto 594
Hi,

Are you sure about this title for Naruto 594th chapter ? Seems to me that "祖たるもの" doesn’t mean a thing in japanese, and it only gives 28 results with Google (, mostly in the middle of sentences…). I couldn’t find any japanese raw scans for this chapter, only chinese ones (where the title is 始祖之物).

Sincerely,

Schlum (talk) 22:27, 19 July 2012 (UTC)

Naruto Shippuden special
Hi Geg, I saw you posting the schedule for the Naruto Shippuden anime on narutoforums, but didn't give any source. Could you give me one, please? Seelentau (talk) 18:31, 23 July 2013 (UTC)
 * Not a problem, I'll mirror it somewhere. Thanks! :) Seelentau (talk) 23:32, 23 July 2013 (UTC)

thank you
Thank you for your editings in naruto shippoden episodes --1339861mzb (talk) 11:22, 5 March 2014 (UTC)

Naruto 679
There you go. Erigu (talk) 05:33, 10 June 2014 (UTC)

Global account
Hi Geg! As a Steward I'm involved in the upcoming unification of all accounts organized by the Wikimedia Foundation (see m:Single User Login finalisation announcement). By looking at your account, I realized that you don't have a global account yet. In order to secure your name, I recommend you to create such account on your own by submitting your password on Special:MergeAccount and unifying your local accounts. If you have any problems with doing that or further questions, please don't hesitate to ping me with. Cheers, —DerHexer (Talk) 19:23, 2 January 2015 (UTC)

Naruto Shippuden Seasons.
You're the third person that edited the Naruto Shippuden Seasons. If you google it, you'll see there's only sixteen seasons. In the anime, there's just sixteen openings, in other words, sixteen seasons. So, please, don't revert the page. Thanks — Preceding unsigned comment added by Ninguem98 (talk • contribs) 03:48, 9 March 2015 (UTC)

Naruto Manga Final Volumes
Amazon.com has the English Release dates for Volumes 71 and 72 confirmed. Wanted to let you know so you can deal with the complex work of adding the dates and sourcing them. 73.190.124.47 (talk) 05:02, 28 March 2015 (UTC)

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Yugioh work group
Since no other work group within the animanga wikiproject has a seprate rating system, would it be necessary for the Yugioh work group to have a seprate rating system at this point? Magicperson6969 (talk) 01:18, 1 December 2015 (UTC)

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title: User talk:Geg


text:
User talk:Tormozko

Hi, and welcome to Wikipedia! Thanks for your contributions to the coolest online encyclopedia I know of =). I sure hope you stick around; we're always in need of more people to create new articles and improve the ones we already have.  You'll probably find it easiest to start with a tutorial of how the wikipedia works, and you can test stuff for yourself in the sandbox.  When you're contributing, you'll probably find the manual of style to be helpful, and you'll also want to remember a couple important guidelines.  First, write from a neutral point of view, second, be bold in editing pages, and third, use wikiquette.  Those are probably the most important ones, and you can take a look at some others at the policies and guidelines page. You might also be interested in how to write a great article and possibly adding some images to your articles.

Be sure to get involved in the community – you can contact me at my talk page if you have any questions, and you can check out the village pump, where lots of wikipedians hang out and discuss things. If you're looking for something to do, check out the community portal. And whenever you ask a question or post something on a talk page, be sure to sign your name by typing ~~~~.

Again, welcome! It's great to have you. Happy editing! --Spangineer (háblame)  15:17, Jun 13, 2005 (UTC)

List of Ottoman Grand Viziers
Hi Tormazko,

Please see my remark on the talk page of the article List of Ottoman Grand Viziers regarding your edit on the article (16 June 2005). Cheers. Nedim Ardoğa (talk) 09:00, 11 November 2010 (UTC)

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

title: User talk:Tormozko


text:
User talk:MARMOT

MARMOT,

As discussed, you are hereby on one year of probation. You are to complete the following tasks as part of your unbanning agreement.

 * A formal and open apology written to Linuxbeak, Phroziac, Cool_Cat, and others that you have caused harm to
 * Mentorship/mediation, which is to be pursued immediately
 * A probation sentence of one full year from the moment of your unbanning
 * Ceasing of all harmful activity against Wikipedia and it's users (including IRC)
 * An indication of behavioral improvement, marked by an RFC, after three months

I also have another task for you. Every sock puppet that you have used is to be identified.

Good luck in your probation, and welcome back. Alex Schenck (that's Linuxbeak to you) 20:45, 12 November 2005 (UTC)

Marmot 21:02, 12 November 2005 (UTC)

Hi Marmot, welcome back. If I can help you out in any way, let me know. silsor 22:14, 12 November 2005 (UTC)

Trolling
Please resist trolling and verbal abuse around wikipedia, and irc networks. Cheers. Hejog 01:57, 28 December 2005 (UTC)

Mentorship
MARMOT:

As we have agreed, you are to undergo a year of mentorship. You may find your mentorship case at WP:MENTCOM. If you have any questions, feel free to ask me. Alex Schenck (that's Linuxbeak to you) 01:47, 13 November 2005 (UTC)

 * The three mentors will be myself, Karmafist, and Celestianpower. Feel free to ask any of us for help, and know that we will be watching over your contributions.  R  e  dwolf24  (talk) 02:25, 13 November 2005 (UTC)

Kristin Kreuk
You'll have to be more specific in your edit summaries. Those comments weren't appropriate from a WP:V/WP:NOR standpoint, but in terms of some kind of moral code, please remember that Wikipedia isn't censored. Karmafist 16:18, 14 November 2005 (UTC)
 * "Seeing as you're my mentor, I just wanted to ask if you could NPOV the article or something, 'cause right now it says she's a sex symbol and that just seems like the kind of comment you'd expect from a magazine article. 'Nuff said."  MARMOT 16:54, 14 November 2005 (UTC)

 * MARMOT has a point. The article is a bit.. well, biased. Alex Schenck (that's Linuxbeak to you) 16:56, 14 November 2005 (UTC)

MARMOT is right, there was definately alot of OR in there. I tried to limit it a bit and put in an external link from a third party interview. MARMOT, please feel free to ask me anything. I apologize if I seemed gruff before, I just want to make sure you avoid any issues in the future. Karmafist 18:45, 14 November 2005 (UTC)

Hello, MARMOT!
I'd like to thank you for your turnaround. My policy is to always assume good faith and always give users a second chance. Users like you have proved that second chances can work. - Kookykman| (t) (c)

re:my RfA
In my RfA you voted "strong support offered" and it is in the neutral section, just to let you know. I had an interesting encounter with a "squad" of marmots in Grand Teton...one tried to eat my camera...I got some good close up shots too. Pretty darn funny, but those fellows can take a chunk out of you if you let them, that's for sure! Anyhoo, happy editing.--MONGO 02:16, 16 November 2005 (UTC)
 * You have my strong support, but I probably shouldn't vote this soon after being unbanned. Good luck. MARMOT 11:54, 16 November 2005 (UTC)
 * Er, so your vote is neutral then? Regardless, I appreciate the feedback.--MONGO 15:55, 16 November 2005 (UTC)

Support
Thanks for the support. Everyking 06:36, 16 November 2005 (UTC)

This is great!
A complete and total 180 from previous behavior? Right on!! I'd like to be among the first to welcome you to the fold with wide open arms. Talk page is open 24/7 if you need anything. All the best, Lucky 6.9 00:09, 17 November 2005 (UTC)

Dublin Beers
MARMOT, I have no idea what this means, but since this user is implicating you in his vandalism, I though you might like to comment. I have opened a discussion at WP:ANI #MARMOT and User:Dublin Beers, if you have anything to say. Just to be clear, I am not accusing you of anything. --Doc ask? 15:03, 29 November 2005 (UTC)

Nonsense
Please don't post nonsense. And, if you must post nonsense, please don't put it back when people remove it. Friday (talk) 01:23, 4 December 2005 (UTC)

 * Hello, MARMOT. I noticed at User_talk:Silsor that you had several questions about reversions. The reason why I (and two other people) reverted your changes were because they appeared like a joke in an otherwise serious page. Your suggestion made little sense and was irrational; in addition, your choice of words ("Problem fucking solved.") appeared to indicate that your suggestion was to not be taken seriously. As such, they were reverted by Snowspinner. You then proceeded to revert him and also remove his comment; you should never remove or tamper with anyone's vote, comment or suggestion. As such, I reverted your changes. After you made the change again, Talrias reverted your changes. If you want people to take you seriously, please make serious suggestions and comments, don't tamper with other people's comments (especially the person who had just reverted you), and don't mark your edits as minor when they clearly are not (the addition of new material is generally considered major). While you may have been trying to inject some humor into the page, this wasn't the appropriate place or time to do so. The second reversion that you point out was when you added a section titled "Developer insight" and wrote that you were the "programmer of the software". The added section seemed to make no sense; you aren't a developer — are you saying that a developer said that? In either case, please attempt to make your changes more clear in the future (i.e. explain what you are trying to state so that someone stumbling upon the page would understand the addition) and provide edit summaries in the future to assist other people in understanding your edits. Thanks for your understanding. If you have any more questions, please don't hesistate to contact me. Thanks! Flcelloguy (A note? ) 03:32, 4 December 2005 (UTC)

The comment removal was accidental edit conflict, as to the Super Troll, I am the programmer of Love Virus and Love Virus is the software used by SUPER COOL/SUPER TROLL. I stopped publishing keys after I was unbanned.

On another note, I ask you delete the vandalism page on me.

 * It seems like Long term abuse/MARMOT has already been deleted by another administrator. Regarding the Super Troll page — are you saying that you provided them with the software? If so, I'll clarify that on the page. Finally, could I ask you to review your use of the "minor" flag? The majority of your recent edits, including your responses here on your talk page, have been flagged as minor. Generally, responding to someone or the addition of text is not considered minor. You may wish to review Minor edits. Thanks a lot! Flcelloguy (A note? ) 15:57, 4 December 2005 (UTC)

Well the problem is the minor edit is always selected, not intentionally.

Thank you for deleting the vandalism page.

 * Really? Your minor edit box is automatically checked? That's odd, mine isn't — did you change your preferences? No problem. Thanks! Flcelloguy (A note? ) 01:17, 6 December 2005 (UTC)

A few notes
MARMOT - when you post an arbcom solution based on randomosity and end it with 'problem fucking solved', don't be surprised when you're reverted. Also, sign all comments with ~. Do not post such messages as the Charmed one at WP:AN, instead maybe post it at the Village Pump, and lighten up on the gratuitous swearing. We're not prudes, but when we see 'I shit myself' over and over we tend to get a bit annoyed. Good work on the articles though. R e  dwolf24  (talk)  Attention Washingtonians!  23:27, 4 December 2005 (UTC)
 * Redwolf, you're a fucking life saver. I owe you one. MARMOT 01:57, 10 December 2005 (UTC)

 * Whoa!  ε  γκυκλοπαίδεια  *  (talk)  01:58, 10 December 2005 (UTC)
 * Yep. We're all here for you, as long as you want to work with others. karmafist 02:30, 10 December 2005 (UTC)

Copy edit
I see you have done some decent work copy editing. Care to copy edit this one: User:Cool Cat ? -- Cool CatTalk 01:13, 24 December 2005 (UTC)

MARMOT
I've reblocked because some of his recent edits are suggestive of a return to vandalism. Particularly note this last edit: (creating User:Linuxbeak/Vandalism technology with edit summary "developing new innovations"), as well as announcing that the new user User:Frinelli walker is him ; this latter account made a series of rapidfire edits to User:Linuxbeak/Sandbox, possibly as a test of some bot tool. He also added himself to Phroziac's list of vandals. Perhaps I'm overreacting? Anyone know what's going on? -- Curps 19:42, 6 January 2006 (UTC)
 * I can explain somewhat. I gave him permission to toy with my sandbox. I told him not to vandalize anything. Linuxbeak (drop me a line) 19:46, 6 January 2006 (UTC)
 * Hmmmmm. Can you ask him what his "Frinelli walker" bot is for? -- Curps 19:48, 6 January 2006 (UTC)
 * I'd hazard that a playing around with his own sandbox would have been the wiser course of action. -Splash talk 19:50, 6 January 2006 (UTC)
 * It's his "developing new innovations [in vandalism technology]" comment along with the apparent use of a bot that's kind of the issue... -- Curps 19:59, 6 January 2006 (UTC)

 * I'm all in favor of reforming vandals, so I'm sure you'll pardon my asking whether he's actually done anything productive since his "pardon"? — Dan | talk 19:56, 6 January 2006 (UTC)

And now a bunch of alphanumeric-soup usernames have been created, some of which have edited User:Linuxbeak/Vandalism technology, creating garbage text. How did these brand new accounts know about this brand-new page, which MARMOT only created 15-30 minutes earlier, unless they're him? The alphanumeric-soup accounts have now been blocked (see Special:Log/block). -- Curps 20:04, 6 January 2006 (UTC)

 * I was just helpfully demonstrating the software's capabilities. No harm was done. MARMOT 20:12, 6 January 2006 (UTC)

 * Sockpuppet/vandalism software/"technologies"? . . . Why the hell? Are you preparing to be the new Willy on Wheels or something? -- Mistress Selina Kyle  (  Α⇔Ω ¦  ⇒✉  )  12:14, 7 January 2006 (UTC)

Block
I have blocked this account in line with the evidence presented at User:Brion VIBBER/Cool Cat incident report. My block is a temporary block of one month, allowing time for Jimbo, the Arbitration Committee, and/or the Wikipedia community to make a determination regarding restoring the previous indefinate block. I am also reporting my actions on WP:ANI. -- Essjay  Talk •  Contact 13:12, 16 January 2006 (UTC)

Proposed deletion of Ziganov

The article Ziganov has been proposed for deletion because of the following concern: "No indication of notability. No significant sources located on a search."

While all constructive contributions to Wikipedia are appreciated, pages may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the page to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. ♠PMC♠ (talk) 08:33, 4 April 2022 (UTC)

title: User talk:MARMOT


text:
Talk:Cent(e)ring diphthong

This article should be renamed to centring diphthong, because the majority of non-rhotic dialects use these diphthongs. Non-rhotic dialects are: southern England, Australia, New Zealand, South Africa and New England. And the majority of these dialects use BE spelling. -- Mark 03:15, 13 Jun 2005 (UTC)

 * The Boston accent also uses centering diphthongs and they use American spelling. So, I vote to stick with centering diphthong. Centering diphthongs can also exist in rhotic accents though, for example, many Northeastern U.S. accents have /e@/ in fast, can't, dance, mad etc. in contrast to the /{/ in lad, cat etc.

But they (Bostonians) are the minority not the majority as I stated above and so this article should be renamed. They (NE US) are also the minority, if in fact they actually use any centring diphthongs. Also please sign your name. -- Mark 03:47, 13 Jun 2005 (UTC)

Well, even in rhotic accents the centering diphthong /I@/ is commonly heard in the word idea. Steve Jun 13, 2005

Well, I guess we'll just have two articles then. Steve Jun 13 2005

I'm moving the article to cent(e)ring diphthong. That includes both spellings. Steve Jun 13, 2005

I'm merging this article with diphthong; centering diphthongs are not notable enough for a separate article of their own, and having two separate articles cent(e)ring diphthong and centring diphthong is just silly. P.S. Rhotic accents do not have the centering diphthong /I@/ in idea; it's a three-syllable word /aI.di.@/. --Angr/undefined 28 June 2005 05:10 (UTC)

title: Talk:Cent(e)ring diphthong


text:
User talk:Dalbem

Hi, and welcome to Wikipedia! Thanks for your contributions to the coolest online encyclopedia I know of =). I sure hope you stick around; we're always in need of more people to create new articles and improve the ones we already have.  You'll probably find it easiest to start with a tutorial of how the wikipedia works, and you can test stuff for yourself in the sandbox.  When you're contributing, you'll probably find the manual of style to be helpful, and you'll also want to remember a couple important guidelines.  First, write from a neutral point of view, second, be bold in editing pages, and third, use wikiquette.  Those are probably the most important ones, and you can take a look at some others at the policies and guidelines page. You might also be interested in how to write a great article and possibly adding some images to your articles.

Be sure to get involved in the community – you can contact me at my talk page if you have any questions, and you can check out the village pump, where lots of wikipedians hang out and discuss things. If you're looking for something to do, check out the community portal. And whenever you ask a question or post something on a talk page, be sure to sign your name by typing ~~~~.

Again, welcome! It's great to have you. Happy editing! --Spangineer (háblame)  15:17, Jun 13, 2005 (UTC)

title: User talk:Dalbem


text:
Talk:Libertarian Perspective on LGBT Rights

Please merge this content into the existing page, Libertarian perspectives on gay rights. Christopher Parham (talk) 15:18, 2005 Jun 13 (UTC)


text:
Talk:Meseret Defar

Untitled
you need some more info —Preceding unsigned comment added by 69.195.174.173 (talk • contribs)

Merge
Are we attempting to merge an article that doesn't exist into this one? I only got a redlink Footer Olympic Champions 3000 m Women Any editors views on this? If not, I'll remove the merge tag, thanks xCentaur | talk  10:41, 3 February 2007 (UTC)

WR
Would be nice to have a list of world records -- is she still the only woman to ever break 9:00 on 2miles or 3200m? —Preceding unsigned comment added by Suahi (talk • contribs) 11:45, 28 February 2009 (UTC)
 * I'll try to do a bit of work on this article in the near future. Sillyfolkboy (talk) 22:23, 1 March 2009 (UTC)
 * There is a List of world records in athletics but 2 miles and 3200 are not distances that the official world body IAAF keeps records for, therefore any records for those distances would be unofficial.Trackinfo (talk) 05:01, 6 February 2010 (UTC)

Prose
Someone inserted a suggestion that this article would be better in prose. I can't see how that would improve this article in the least and I removed that.Trackinfo (talk) 05:03, 6 February 2010 (UTC)

External links modified
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Meseret defar
How did she pass her Life 196.188.243.190 (talk) 15:18, 5 October 2022 (UTC)

title: Talk:Meseret Defar


text:
Template talk:Trains portal/News image

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This template is used in the "In the news..." section of Portal:Trains. It takes three parameters:
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For example, the following code:

produces the image of an Amtrak train shown at right.

To include a border around the image, which is useful for flags that contain areas of white bordering the edge of the image, leave the final pipe symbol off the parameter list. For example, the following code:

produces the image of Slovenia's flag shown at right.

title: Template talk:Trains portal/News image


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NWA World Tag Team Championship (Mid-America version)

The Mid-America version of the NWA World Tag Team Championship was a regional professional wrestling championship for tag teams that was used in the National Wrestling Alliance's (NWA) NWA Mid-America professional wrestling promotion from 1957 until 1977.$[G1][G2]$ The championship, promoted by Nick Gulas, was one of many NWA World Tag Team Championships in existence in the period between 1949 and 1992, each of which was a regional championship restricted to an NWA territory and not a true "world" championship. At one point in 1957 there were at least 13 different, concurrently promoted NWA World Tag Team Championships across the United States.$[G1][G2]$ The Mid-America version was in use for 20 years, the second longest of any of the NWA World Tag Team Championships of that era, only behind the Central States version. Being a professional wrestling championship, the NWA World Tag Team Championship was not won or lost in competitive matches, but determined by the decision of the bookers of NWA Mid-America.

The Mid-America version was primarily defended in the Tennessee/Alabama territory, occasionally also being defended in surrounding states. The first recognized champions of the Mid-America branch of the championship were the Corsicans (Corsica Joe and Corsica Jean), who were presented as champions on February 5, 1957. Records do not specify if the team won a tournament of if they were simply awarded the championship by promoter Nick Gulas.$[G1][G2]$ There were at least 148 championship reigns between 1957 and 1977, when the championship was abandoned, split between 77 different teams and a total of 99 individual wrestlers. Mike Graham and Kevin Sullivan were the last Mid-America-recognized NWA World Tag Team Champions, having won the championship in April 1977, a short time before NWA Mid-America abandoned the championship.$[G1][G2]$ At that point the NWA Mid-America Tag Team Championship became the main championship in the territory.

The reign of Len Rossi and Bearcat Brown from October 2, 1969, until some time in May 1970, lasted at least 211 days and possibly as long as 241 days, making it the longest individual reign on record. The Von Brauners (Kurt Von Brauner and Karl Von Brauner) hold the records for most championship reigns, a total of 17 reigns that combined to at least 510 days, probably more.$[G1][G2]$ Karl Von Brauner also held the championship with Luke Graham, making his 18 individual championship reigns the most of any wrestler. Due to lack of detail on a multiple championship reigns, it is impossible to determine which team had the shortest reign; the shortest confirmed reign of seven days belonged to Yvon Robert and Billy Wicks, who held the championship from January 5 to January 12, 1959.$[G1][G2]$

Team reigns by combined length
Key

Individual reigns by combined length
Key

Concurrent championships

 * Sources for 13 simultaneous NWA World Tag Team Championships
 * NWA World Tag Team Championship (Los Angeles version)
 * NWA World Tag Team Championship (San Francisco version)
 * NWA World Tag Team Championship (Central States version)
 * NWA World Tag Team Championship (Chicago version)
 * NWA World Tag Team Championship (Buffalo Athletic Club version)
 * NWA World Tag Team Championship (Georgia version)
 * NWA World Tag Team Championship (Iowa/Nebraska version)
 * NWA World Tag Team Championship (Indianapolis version)
 * NWA World Tag Team Championship (Salt Lake Wrestling Club version)
 * NWA World Tag Team Championship (Amarillo version)
 * NWA World Tag Team Championship (Minneapolis version)
 * NWA World Tag Team Championship (Texas version)
 * NWA World Tag Team Championship (Mid-America version)$[G1][G2]$


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Category:Recovered factories

A recovered factory is a company in which control and/or ownership has been seized by a worker cooperative, generally in response to an approaching or actual bankruptcy. The term emerged in reference to takeovers in Argentina after the country's 2001 economic collapse, but is sometimes applied, as it is here, to comparable cases in other contexts.

title: Category:Recovered factories


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Poison (Final Fight)

Poison (ポイズン) is a character in Capcom's Final Fight and Street Fighter series of video games. Created by Akira Yasuda for Capcom, Poison was originally conceived as a female thug in Final Fight alongside a similar character, Roxy, as part of the game's antagonist group Mad Gear, taking inspiration for her design from Jeanne Basone's appearance as "Hollywood" in professional wrestling magazine G.L.O.W. She later appeared in other Capcom-produced games, media and merchandise in particular those related to the Final Fight and Street Fighter franchises, with later appearances partnering her with fellow Final Fight character Hugo as his wrestling manager. Since her introduction several other designers have contributed to her designs and outfits, including Jun Ikawa, Trent Kaniuga, and Takayuki Nakamura. She is voiced by Atsuko Tanaka since the Street Fighter III series and Masae Yumi in SNK vs. Capcom: SVC Chaos.

Poison and Roxy were designed as fast, athletic characters for players to encounter. Due to concerns during Final Fight's development about reactions from North American audiences to fighting women, both Poison and Roxy were re-imagined as "newhalfs", a Japanese slang term for trans women. However, Nintendo of America did not consider this satisfactory and both Poison and Roxy were replaced by the male characters "Billy" and "Sid" and have been for every subsequent North American port of the title on Nintendo consoles and handhelds. This, coupled with several conflicting statements over the years, has led to her gender being questioned, though some statements imply that Poison is transgender, while Roxy is cisgender. Most recently, Capcom has taken the stance that Poison's gender is open to viewer interpretation.

The character's sex appeal has led to her being highly regarded, though often with acknowledgment of her gender status. The early ambiguity regarding this subject has led to much discussion and debate amongst fans of the character. While it has been acknowledged that the original circumstances were less than ideal, she is regarded as one of the earliest and most popular examples of a transgender character in video games.

Design history
Poison's first appearance in Final Fight featured her and a palette swap character named Roxy as recurring minor enemies for the player to fight. Named after the band by an unnamed female employee at Capcom, she was designed by Akira Yasuda to contrast against the bigger characters in the game and move about randomly, and were originally intended to utilize backflips to flee. Described as a "cool and rebellious woman", Poison was conceived due to Yasuda's desire to introduce sexy female gang members to the game. To this end he referenced Western fashion magazines, specifically Jeanne Basone's appearance as "Hollywood" in professional wrestling magazine G.L.O.W. Poison is shown to be a woman with long, rugged, pink hair. She wears a black cap, a choker, cutoff, blue jean-shorts, red high-heels, and a tanktop cut just below her breasts. In Final Fight Revenge and some artworks, her hair is shown to be purple instead. She wears several armbands around her right arm and has chains and a pair of handcuffs suspended off her shorts, and is often depicted holding a riding crop. Final Fight Revenge features her also possessing a whip used in attacks, an element of her design brought back later with Street Fighter X Tekken. Poison stands about 5 feet 9 inches (175 cm) tall and has bust/waist/hip measurements of 35-25-35" (88-66-89 cm).

Poison was given a secondary outfit for Capcom Fighting All-Stars alongside her primary classic attire. Made of shiny, silvery material it consisted of boots that extended halfway up her thighs and a combined sleeveless shirt/short skirt with a plunging neckline. Gloves and a small hairband were also added, as well as a belt, with the handcuffs hanging off of it. Her arm straps were removed, though the strap around her neck remained. This design was originally created by Street Fighter III character designer Jun Ikawa as a possible outfit for her appearance in the series. It was included as her secondary outfit Street Fighter IV, changed to green with a matching military cap and long gloves.

Though not appearing in Final Fight: Streetwise, the concept art section of the promotional comic for the game showcases an unused Poison redesign by Trent Kaniuga. The design features red hair, a red micro skirt showing a hint of underwear, a jacket, a button-up white shirt showing some of her abdomen, black high-heeled boots, a gold belt, and a wool cap. In August 2006, Kaniuga revealed three additional alternate designs on ConceptArt.org's internet forum; one being the classic look; another being a white button-up shirt with red pants, high-heels, and short hair; and the third keeping the high-heels and pants, but adding shades, returning her hair to full length and swapping the shirt for a jacket with deep cleavage. All four designs use the same color scheme, belt, and handcuffs. In a later video, Kaniuga stated he was concerned he had made her skirt too short, but laughingly noted "there wasn't too much resistance from the team on that though."

When designing her character model for Street Fighter x Tekken, production studio Dimps focused on her sexiness due to her long legs in her appearance and movement, while keeping her design close to the original, and a secondary outfit added modeled after the character "Unknown" from Tekken Tag Tournament to enhance her sex appeal. While the studio was quite pleased with the results, calling her the most glamorous character in the title, the Effects Designer for the game was "horribly embarrassed" whenever he had to check the character's visual effects frame by frame. For Street Fighter V, several redesigns were considered for the character, including a green flowing jacket with a exposed black bra held together by a ring, a red tailed jacket with zebra striped pants, and a black and pink dress with long gloves, stockings and a pink hat. Producer Takayuki Nakamura kept her final design close to the original but added multiple elements, giving her a full glove on her right arm, a stocking on her left leg, garters, and made her whip consistently visible. The whip in turn was intended to give her movements a more "flashy" and unique appearance, while her hair was shortened and frilled outward to better draw attention to the whip while also giving her a "clean, uncluttered look."

Gender
According to the book All About Capcom Head to Head Fighting Games and Final Fight director Akira Nishitani, the characters were originally planned to be cisgender women, but were changed to "newhalfs" (a Japanese slang term for trans women) after the game's release, due to the suggestion that "hitting women was considered rude" in America and the concern that feminist groups would sue. However, concept artwork included in the 2005 compilation Capcom Classics Collection of the pair specifically uses the kana for 'newhalf' (ニューハーフ), contradicting the statement the change occurred post-release. In 2007 Nishitani stated that he supposed the character "could be male", but added it was up to the viewer to decide. He later clarified in a discussion on Twitter that in his personal view Poison was a woman. Yasuda himself commented that as far as her gender, he considers her transgender in North American localizations, but cis in Japan.

A later appearance by Poison as a playable character in Final Fight Revenge, an American-produced 3D fighting game spinoff of Final Fight, portrayed the character in a highly feminine manner and had her romantically interested in Final Fight hero Cody. Commentary about her ending in the game in All About Capcom suggested that the character may have received sex reassignment surgery. The Final Fight-related character profiles featured in Capcom Classics Collection instead allude to her being a cross-dresser, while addressing Roxy as a "she" who dislikes Poison's cross-dressing.

Street Fighter IV's producer Yoshinori Ono, when asked in an interview about Poison's gender, stated: "Let's set the record straight: In North America, Poison is officially a post-op transsexual woman. But in Japan, she simply tucks her business away to look female." He later emphasized it again when asked about what female characters could be included in the game Street Fighter IV, stating that it would be too confusing to include her due to the region-specific gender. However, in a 2011 interview with Electronic Gaming Monthly at the Tokyo Game Show, he stated that Capcom "doesn't have a stance technically", and while they wouldn't give an official answer, felt it was up to the viewer to decide. He added that his intent was to please all fans and that the mystery behind her gender was the core of the character. During the same interview, a Capcom representative further added that they worked closely with GLAAD, an organization concerned with the portrayal of LGBT people in media, to ensure "anything that might be offensive has been very tailored to not be" for Poison's portrayal in Street Fighter X Tekken.

Appearances
Introduced in the original Final Fight, Poison is an orphan from Los Angeles. She enjoys fighting and uses it as a means to stay in shape, making use of her ties with the original Mad Gear Gang to keep herself out of prison. In Final Fight Revenge, her behavior was represented as womanly and sultry, ranging from flirtatious comments to pole dancing. She frames Cody for her assault crimes and gets him arrested by Edi. E, though she later visits him in jail having developed romantic feelings for him. In the Street Fighter III series, she reappears working as a wrestling manager for her friend Hugo, who could not find a tag team partner due to his immense strength. From here their plots would focus on the two searching for a tag partner or starting their own wrestling association, echoed in their SNK vs. Capcom: SVC Chaos appearance. Poison later appeared as a playable character alongside Hugo in Street Fighter X Tekken with similar goals, and in Ultra Street Fighter IV, in which she combined the concept with a rock band theme in her character ending. In Street Fighter V, Poison returns to Metro City after Hugo and she have a falling-out, searching for a new partner she can make a star to little success. Ultimately, she and Hugo reconcile and become partners once again.

Poison was also planned to appear both in Capcom Fighting All-Stars and Final Fight Streetwise, though the first game was canceled and she was cut from the second. In Mighty Final Fight, a chibi parody of the character named "Poison Kiss" appears as a generic enemy, a corrupt cop and characterized as her younger sister. Poison has also appeared based on her role as Hugo's manager on cards for SNK vs. Capcom: Card Fighters Clash and the game's Nintendo DS sequel, as well as the related physical trading card game Versus TCG. In other titles she makes stand-alone appearances, such as on cards for browser game Onimusha: Soul and GungHo Online Entertainment's mobile game TEPPEN, and as a selectable character in TOPJOY's roleplaying game Street Fighter: Duel, the latter of which also features an alternate version called "Street Poison" in a stylized police uniform.

Gameplay
In the original Final Fight, Poison and Roxy both utilized standing and acrobatic flip-kicks to attack the player. As one of the fighters in Final Fight Revenge, her moveset was expanded heavily, and she was armed with a whip. The whip is used primarily in her Cat Claw and Thunder Whip attacks (which are comparable to Shoryuken/Shinryūken styled attacks, respectively), and can be used to steal a weapon from the opponent. Additionally, her handcuffs can be thrown as a horizontal projectile move to immobilize the opponent for a short time.

One particular Final Fight Revenge attack, Poison Kiss, has her blow a large heart-shaped kiss at the opponent that travels in a sine wave path. If it connects, a quick peep show of Poison in several erotic poses is displayed, and afterwards the opponent is shown stunned with hearts dancing over their head. Defeating an opponent with this attack results in Poison doing a pole dance for her win pose, with her whip serving as the pole. Though not playable in the beta test of Capcom Fighting All-Stars, promotional material released by Capcom for the title show that this move would have been retained for her gameplay. However, in Ultra Street Fighter IV, her Poison Kiss follows up with several slaps and a groin kick when it hits the opponent, similar to her Cross Art move from Street Fighter X Tekken.

As for the Street Fighter series, starting from Street Fighter X Tekken, Poison has a unique moveset of her own that mixes agile pro wrestling techniques and her own streetfighting abilities. Poison's standard throws include a multi-hitting slap and a Frankensteiner, Aeolus Edge and Kissed By a Goddess which are the names of her Fireball and Shoryuken-like moves, and Whip of Love which is a multi-hitting whip attack and is done in a similar fashion to Fei Long's Rekkas. Her famous flip kick from the original Final Fight games appears as a special called Love Me Tender. After the flipping axe-kick, Poison can follow this move up with a reverse Frankensteiner (Poison-Rana). In addition, Poison's Super Art is called Love Storm, and starts with her charging a large version of Aeolus Edge. Once it hits, she flips into the air and lands with a hard hitting axe kick that stuns the opponent in a prone position. Afterwards, she repeatedly smacks the opponent with her horsewhip and delivers a final blow that knocks them into the air. Poison also retained her signature backflip from the original game. For Street Fighter V, her gameplay was changed to emphasize a long-range moveset, with a key focus being to set her apart from similar characters in the game by incorporating her whip into combos and standing attacks.

Censorship
When Final Fight was ported to the Super Nintendo Entertainment System, an American playtester working for Capcom reviewed the content during the localization process with one of the Japanese designers and objected to the protagonist hitting women. While Akira Yasuda pointed out that the characters had already been made into trans women, believing this to be an acceptable compromise, Poison and Roxy were replaced with regular male punks named "Billy" and "Sid" in the English localization despite his objections. This change has been repeated with every English port to Nintendo consoles, including the Game Boy Advance version Final Fight One and the Wii's Virtual Console. English versions of the Sega CD port censored the characters in a different manner, redrawing both of them with longer shirts and shorts and covering the under-cleavage shown when the characters were struck.

In other media
In print media, Poison is also featured frequently in UDON Entertainment's Street Fighter comic series, where according to Director of Publishing Matt Moylan she is considered transgender. Introduced in the sixth issue of Street Fighter II Turbo, she appears at the qualifier for the world martial arts tournament, where the rules are changed and instead of just fighting each other they must locate one of several invites to the tournament before the building explodes. After finding an invite, she is stopped by Cody who insults her by saying she isn't "much of a lady", causing her to fly into rage. She defeats him by handcuffing him to an elevator going up, but is defeated herself by another entrant before she can claim the invite. In the second volume Super Street Fighter, a collection of short stories, she appears alongside Hugo preparing for a match against the wrestler Rainbow Mika. However, Hugo finds Mika "too pretty" and refuses to fight, causing Poison to take his place. Poison handcuffs Mika during the match, but is defeated when Mika instead somersaults butt-first into her midsection, knocking Poison unconscious. In Street Fighter Unlimited, both her and other members of Mad Gear are invited to Gill's fighting tournament, skeptical of his self-proclaimed god. After Gill reveals himself to be a villain, she fights alongside the other participants to take him down.

In manga, Poison appears in the first volume of the Street Fighter III: Ryu Final manga by Masahiko Nakahira, encountering protagonist Ryu in Germany while he's in need of money for food. Proposing a three minute match against Hugo in front of a crowd to earn money, Ryu agrees, and after Poison encourages Hugo the two men fight. Hugo and Ryu knock each other out by the end of the match, and after they recover Poison splits the earnings and the pair bids Ryu farewell. They later return in the second volume, with Poison overseeing Hugo's match against muay thai fighter Sagat. She also briefly appears in issue 74.5 of the manga series Kengan Ashura, as one of the fighters representing the "Capcom Association" present to watch Ryu fight the protagonist Ohma Tokita. The event is later suggested to be a dream that Ohma had.

Promotion and reception
Poison has been featured in various promotional Street Fighter related artworks, as early as Street Fighter II. Additionally she has been used as a cameo character three times in the Street Fighter Alpha series. In terms of merchandise, an immovable model was being made for the 2008 Capcom Girls Collection line of figurines by Mitsumasa Yoshizawa, using her Final Fight attire and at 1/6 height, standing nearly 11 inches tall. A similar model was released later on, identical to the previous figurine except with her giving a thumbs down gesture and darker colors. A version with blonde hair was later released as well. In Capcom's press kit for the 2010 release of Final Fight: Double Impact, a pink hair spray was included in tribute to the character, with the text describing it as "For men, women, and everything in between." Capcom later featured her as one of the characters for their Capcom Girls 2011 calendar.

In February 1991, Gamest magazine named her one of the top fifty characters in video games of 1990, placing her twenty-sixth on their list. Former Tips & Tricks executive editor Wataru Maruyama cited her design as an example of how an outfit is worn compared to its complexity can make a character memorable and stand out, stating "to use a phrase I don’t particularly like to use, she totally worked it." Prior to her appearance in Street Fighter x Tekken, GamesRadar named her one of twelve Street Fighter related characters they wished to see in the main series, arguing that her status should not be an issue against her inclusion and that the character deserved another stand-alone appearance of her own. Complex complained about her portrayal, stating since Final Fight she was reinvisioned as "just a slutty girl whose main fighting technique borderlines on pimp slapping your opponent and shaking your breasts". In contrast Joystiq named her their favorite character of the Final Fight series, stating that her "hypersexualized appearance and random flipping" made the character memorable, and that the controversy over her gender made the character even more so. Maddy Myers in an article for Paste stated she felt a kinship for Poison despite her controversies, enjoying the domme aspects of the character and adding that detractors focusing on an male gaze emphasis "would be clutching their pearls past the breaking point to see how Ultra Street Fighter 4 lovingly lingers on Poison’s backside."

As the exact nature of Poison's status as gender-variant has been left deliberately ambiguous by Capcom, the topic has remained a popular subject for debate among fans and gaming media alike. Electronic Gaming Monthly's Eric L. Patterson described her as being a significant character to the trans community, and a perfect example of how it is "so awkward when it comes to knowing how to deal with characters who aren't white, male, and heterosexual" in video games. Gavin Jasper of Den of Geek described Capcom's intended workaround to get past Nintendo censors as "pretty fucked up", though added praise for how she was presented since, stating "Capcom actually did right by not making that a punchline. Poison continued to show up in stuff, and they let her have an identity that stepped away from all of that." GamesRadar in turn commented "Poison holds a distinction as one of gaming’s first trans characters, which began as a strange choice in localization but has become a part of the character that she wears with pride. If you take issue with it, that’s your problem, not hers. It's that kind of confidence that makes her so appealing." In an article examining every Street Fighter character Paste acknowledged the controversy, but instead focused on her character, stating "Capcom might not be able to ever set the record on her story, but the only one that needs telling is that Poison is a powerful and compelling character in every appearance she's made."

title: Poison (Final Fight)


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Talk:Microsoft Certified Systems Administrator

very negative ... needs some positive info


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Charles Willeford

Charles Ray Willeford III (January 2, 1919 – March 27, 1988) was an American writer. An author of fiction, poetry, autobiography, and literary criticism. Willeford wrote a series of novels featuring hardboiled detective Hoke Moseley. Willeford published steadily from the 1940s on, but vaulted to wider attention with the first Hoke Moseley book, Miami Blues (1984), which is considered one of its era's most influential works of crime fiction. Film adaptations have been made of four of Willeford's novels: Cockfighter, Miami Blues, The Woman Chaser, and The Burnt Orange Heresy.

Early life
Charles Ray Willeford III was born in Little Rock, Arkansas, on January 2, 1919. Following the death of his father from tuberculosis in 1922, Willeford and his mother moved to the Los Angeles area. After his mother's death in 1927, also from TB, he lived with his grandmother Mattie Lowey on Figueroa Street near Exposition Park until 1932. At the age of thirteen, in the midst of the Great Depression, he boarded a freight train in Los Angeles, assumed a false identity, and—passing as a seventeen-year-old—traveled by rail along the Mexican border for a year.

Career
In March 1935, he signed up with the California National Guard, but a few months later applied for discharge so he could enlist in the regular United States Army. He spent two years in the Air Corps stationed in the Philippines serving as a fire truck driver, a gas truck driver, and briefly as a cook. At the end of 1938, he was discharged from the Army. He re-enlisted in March 1939, again joining the Air Corps at March Field, California, but later transferring to the 11th Cavalry stationed at the Presidio of Monterey. In the cavalry, he learned to ride and care for horses and spent several months learning the art of horseshoeing. He also served as a "horseholder" in a machine gun troop and earned a marksman qualification.

In 1942, Willeford married Lara Bell Fridley before being stationed at Fort Benning, Georgia, for infantry school. He was assigned to Company C, 11th Tank Battalion, 10th Armored Division and sent to Europe as a tank commander. He fought in the Battle of the Bulge and earned the Silver Star, the Bronze Star for outstanding bravery, the Purple Heart with one oak leaf cluster, and the Luxembourg War Cross. After V-E Day, he studied at Biarritz American University until he was shipped back to the United States.

Willeford enlisted again in 1945 for a term of three years. As a member of the 24th Infantry Division, he was stationed in Kyushu, Japan, from 1947 to 1949. He ran the army radio station WLKH and was promoted to master sergeant.

His first book of poetry, Proletarian Laughter, was published in 1948. In May 1949, he and his wife, Lara, divorced. In July of the same year, he left the army, leaving a mailing address of General Delivery, Dallas, Texas. He enrolled in the Universitarias de Belles Artes in Lima, Peru, studying art and art history in the graduate program. He was dismissed from the university when officials learned that he had neither an undergraduate degree nor a high school diploma. He lived in New York City for a month at the end of 1949 before re-enlisting in the air force.

Willeford was stationed at Hamilton Air Force Base in California through April 1952. He married Mary Jo Norton in July of that year, and lived for a while in Birmingham, Alabama. In 1953, Willeford's first novel, High Priest of California, was published. Bound as a double volume with another writer's novel, it sold 55,000 copies, about a third of its print run. In January 1954, he re-enlisted once again; he was stationed this time at Palm Beach Air Force Base, while living in West Palm Beach. In 1955, he was reassigned to Harmon Air Force Base in Newfoundland. Willeford finally left active duty in November 1956. By that time, two more novels of his had been published.

Later life
After retiring from the Air Force in 1956, Willeford held jobs as a professional boxer, actor, horse trainer, and radio announcer. He studied painting in France for a time, returning to the United States to attend Palm Beach Junior College. After receiving an associate degree in 1960, he studied English literature at the University of Miami, attaining a bachelor's degree in 1962 and a master's in 1964. During this period he also worked as an associate editor with Alfred Hitchcock's Mystery Magazine and began a long tenure as a book reviewer for the Miami Herald. Willeford had been very productive as a novelist after leaving the military, but after 1962's Cockfighter, he would not have another novel published for nine years. Upon receiving his M.A., Willeford taught humanities classes at the University of Miami through 1967, then moved to Miami-Dade Community College where he became an associate professor, teaching English and philosophy through 1985.

In 1971, The Burnt Orange Heresy, often identified as Willeford's best noir novel, and The Hombre from Sonora appeared (the latter under a pseudonym). Though he would continue to write fiction, there would again be an extended hiatus—thirteen years—before another novel of his came out. He wrote the screenplay for the 1974 film adaptation of Cockfighter, in which he also acted. In 1976, he and his second wife were divorced. The following year he appeared in a small role in the film Thunder and Lightning, produced by Roger Corman. Willeford married his third wife, Betsy Poller, in 1981. Three years later came the publication of Miami Blues, the first of the Hoke Moseley novels and their twisted take on the hardboiled tradition for which Willeford would become best known. The "series was almost nipped in the bud," notes Lawrence Block. In Willeford's first, unpublished sequel, "he had his unlikely hero commit an unforgivable crime, and ended the book with Hoke contentedly anticipating a life of solitary confinement." As it turned out, the popularity of Miami Blues and its first two published sequels led to the largest financial windfall of the author's life: a $225,000 advance for the fourth Hoke Moseley book, The Way We Die Now. Released in early 1988, it would be his last novel.

Death
Charles Willeford died of a heart attack at 69 years, in Miami, Florida, on March 27, 1988, and was interred at Arlington National Cemetery in Arlington, Virginia.

Literary style
Steve Erickson suggests that Willeford's crime novels are the "genre's equivalent of Philip K. Dick's best science fiction novels. They don't really fit into the genre." Marshall Jon Fisher describes the "true earmark" of Willeford's writing, particularly his early paperbacks, as "humor—a distinctively crotchety, sometimes raunchy, often genre-satirizing humor." "Quirky is the word that always comes to mind," according to crime novelist Lawrence Block. "Willeford wrote quirky books about quirky characters, and seems to have done so with a magnificent disregard for what anyone else thought." In Erickson's description, "The camera's not really focused on the middle of the scene. It's a little bit off. They're not plot driven or language driven, which makes them really different from most major crime novels. They're character driven and cunning in a very eccentric way." Lou Stathis argues that it is Willeford's "complete lack of sentimentality and melodrama that sets him apart from the pack of so-called 'tough-guy' writers.... Willeford's prose is as flat-toned and evenly cadenced—as emotionally neutral—as the blank visages of his feigned-human socio/psychopaths...the careful accretion of detail adding up to an incontrovertible truth of insight."

Woody Haut suggests that Willeford's second novel, Pick-Up (1955), "combines David Goodis's romanticism, Horace McCoy's portrayal of alienated outcasts and Charles Jackson's depiction of life as a 'lost weekend.'" The Woman Chaser (1960), he writes, features a "structural self-consciousness [that] prefigures subsequent post-modernist texts." Lee Horsley describes how Willeford—along with his contemporaries Jim Thompson and Charles Williams—"structured entire narratives around the satiric presentation of the male point of view...subverting male stereotypes and creating a space within which the strong, independent woman could get and even sometimes keep the upper hand." David Cochran suggests that while his protagonists are not quite as psychotic as Thompson's, "they are in some ways even more disturbing because of their appearance of normality." Most, he points out, "have adjusted successfully to postwar American society, which given the[ir] psychotic nature...serves as a damning indictment of the dominant culture."

Willeford's wide-ranging interests were reflected in his work: High Priest of California references T. S. Eliot, James Joyce's Ulysses, and composer Béla Bartók. The Burnt Orange Heresy cracks jokes about Samuel Beckett amidst contemplations of the sources of Dada and Surrealist painting. In Block's words, "it is at once a solid crime novel and a fierce send-up of modern art while constituting perhaps the longest shaggy dog story ever told." Willeford sometimes addressed more serious topics in explicit fashion: The Black Mass of Brother Springer (1958) is one of the first novels to depict the civil rights revolution that followed the Supreme Court's ruling in Brown v. Board of Education. But even without such overt topicality, there was an ideological edge to his work. Cochran writes of the author's 1950s and 1960s novels,

Willeford created a world in which the predatory cannibalism of American capitalism provides the model for all human relations, in which the American success ethic mercilessly casts aside all who are unable or unwilling to compete, and in which the innate human appreciation of artistic beauty is cruelly distorted by the exigencies of mass culture.

In Haut's words, Willeford "creates characters who search for autonomy but settle for survival.... [He] never abandons his class perspective." Describing the Hoke Moseley novels, Horsley similarly writes that Willeford "uses both his transgressors and his investigator...as commentators on the injustices of class and on a system that seems preoccupied with owning and controlling human life." According to Willeford's wife, Betsy, he had a credo that also served as a caution for aspiring writers: "Just tell the truth, and they'll accuse you of writing black humor."

Notability and influence
"Nobody writes a better crime novel," Elmore Leonard said of Willeford. Sean McCann credits Willeford—along with Jim Thompson and David Goodis—as one of the writers responsible for bringing the "hard-boiled crime story to a new stage in its development during the 'paperback revolution' of the 50s." Centered around criminal protagonists rather than private eyes and "focused on those features of the genre that seemed most grotesque or cruel or uncanny and, extending them to new extremes, [they] remade the hard-boiled story into a drama of psychopathology." According to bookseller Mitch Kaplan, an expert on the South Florida literary scene, "Miami Blues launched the modern era of Miami crime fiction. There's a direct line from [Willeford] through just about everyone writing crime fiction in Miami today." Fellow writer James Lee Burke has acknowledged a "great debt" to Willeford: "If someone wanted advice about writing, about how to pull it off, make it work, punch it up ... Charles could tell you how to do it." Daniel Woodrell is among the other crime novelists he is identified as influencing. Willeford's characteristic juxtaposition of humor and violence was apparently one of director Quentin Tarantino's inspirations. Discussing Pulp Fiction, Tarantino has said that the film "is not noir. I don't do neo-noir. I see Pulp Fiction as closer to modern-day crime fiction, a little closer to Charles Willeford." Writing in 2004, Jonathan Yardley of The Washington Post called him "one of our most skilled, interesting, accomplished and productive writers of what the literary establishment insists on pigeonholing as 'genre' fiction."

Four of Willeford's books have been adapted for the screen: Cockfighter (1974; starring Warren Oates and directed by Monte Hellman), for which Willeford wrote the screenplay; Miami Blues (1990; starring Alec Baldwin and directed by George Armitage, also featuring Fred Ward as Hoke Mosley); The Woman Chaser (1999; starring Patrick Warburton and directed by Robinson Devor); and The Burnt Orange Heresy (2019; starring Claes Bang and directed by Giuseppe Capotondi). Willeford adapted his first novel, High Priest of California, into a play. A 1988 production in New York City at The Vortex Theatre apparently represents its first full staging. A subsequent production was staged in 2003.

Works
The bibliography below lists all original publications of Willeford's works and selected reprints that contain variant Willeford titles and/or texts or significant ancillary material.

Hoke Moseley series

There were four books in the Hoke Moseley series, plus an unpublished manuscript.

 * Willeford's original title was Kiss Your Ass Good-Bye. A 2004 Vintage Crime/Black Lizard trade paperback reprint included an introduction by Elmore Leonard. Made into a 1990 American black comedy crime film directed by George Armitage.
 * A 2004 Vintage Crime/Black Lizard trade paperback reprint included an introduction by James Lee Burke.
 * . A 2005 Vintage Crime/Black Lizard trade paperback reprint included an introduction by Lawrence Block.
 * . A 2005 Vintage Crime/Black Lizard trade paperback reprint included an introduction by Donald E. Westlake.

The unpublished manuscript is Grimhaven. There is a photocopy of typescript maintained in the Charles Willeford Archive at the Broward County Library, Florida (212 leaves, no date, with "NOTE: as per Betsy Willeford [widow of the author]: 'Ms. of the "black Hoke Mosely" [sic], never published, sold to a small but ruthless group of collectors in the form of Xerox copies. May not be copied in the library by patrons who'll wholesale it on the Internet.'" ) It was originally intended as the second Hoke Moseley novel.

Other novels

 * High Priest of California/[Full Moon]. New York: Royal Books, 1953. Paperback original. Willeford's first published novel, bound with novel by Talbot Mundy. Cover blurbs for High Priest: "A roaring saga of the male animal on the prowl"/"The world was his oyster—and women his pearls!" 151,000-copy press run.
 * Pick-Up. New York: Beacon Books, 1955. Paperback original. His second published novel. Willeford's original title was Until I Am Dead. Cover blurb: "He holed up with a helpless lush." Crime Novels, American Noir of the 1950s. New York: The Library of America, 1997, contains Pick-Up.
 * High Priest of California/Wild Wives. New York: Beacon Books, 1956. Paperback original. Willeford would later mistakenly recall that Until I Am Dead was the original title for Wild Wives. Bound with his earlier novel, High Priest, which is blessed with another turgid blurb: "No woman could resist his strange cult of lechery!"
 * High Priest of California/Wild Wives. San Francisco: Re/Search Publications, 1987. Trade paperback reprint. Includes an introduction by Lou Stathis, an afterword by V. Vale and Andrea Juno, biographical notes, and a bibliography.

 * Honey Gal. New York: Beacon Books, 1958. Paperback original. Willeford's original title was The Black Mass of Brother Springer. The publisher rejected it and asked for another; Willeford proposed Nigger Lover, which was also rejected. The cover blurbs indicate Beacon's high intentions: "He was white, she was beautiful—and bad"/"A starkly naked novel of sin and segregation."
 * The Black Mass of Brother Springer. Berkeley, California: Black Lizard Books, 1989. Paperback reprint, with Willeford's title restored.
 * The Black Mass of Brother Springer. New Albany, Indiana: Wit's End Publishing, 2004. Trade paperback reprint, with Willeford's title restored. Includes a foreword by James Sallis.

 * Lust Is a Woman. New York: Beacon Books, 1958. Paperback original. Willeford's original title was Made in Miami. Cover blurbs: "She was a pawn in an evil game"/"The story of Maria who wanted—desperately—to become a movie star!"
 * Made In Miami. Point Blank, 2008. Trade paperback reprint, with Willeford's title restored.

 * The Woman Chaser. Chicago: Newsstand Library, 1960. Paperback original. Willeford's original title was The Director. The title of the protagonist's would-be cinematic magnum opus is The Man Who Got Away.
 * The Whip Hand. Greenwich, Connecticut: Fawcett Publications, 1961 Paperback original. Published under the sole byline of W. Franklin Sanders, though documentary evidence and stylistic analysis indicate it is largely, perhaps almost completely, the work of Willeford. A manuscript of the novel, written around 1952, found in his files indicates that Willeford's original title was Deliver Me from Dallas!
 * Deliver Me from Dallas! Tucson, Arizona: Dennis McMillan Publications, 2001. Hardcover of Willeford's original manuscript version, with his name and title restored. Includes an introduction by Jesse Sublett.

 * Understudy for Love. Chicago: Newsstand Library, 1961. Paperback original. Willeford's original title was The Understudy: A Novel of Men and Women. Cover blurb: "When it came to love he was just an understudy...but he was learning in a hurry!" Newsstand's covers advised that both this and Willeford's next novel were "Adult Reading."
 * Understudy for Death. London: Titan Books, 2018. First Hard Case Crime edition, July 2018.  Cover blurb: "First publication in nearly 60 years!"
 * No Experience Necessary. Chicago: Newsstand Library, 1962. Paperback original. Willeford's original title was Nothing Under the Sun. Cover blurb: 'You like it?' she whispered. 'I like it,' he clenched his teeth, 'I like it, I like it!'" The in-house editor rewrote parts of this novel in a more conventional "pulp erotica" style without Willeford's advance knowledge or subsequent approval. Willeford disclaimed this book. He salvaged the work later by using it, with only slight rewriting, as the Pop Sinkiewicz half of Sideswipe.
 * Cockfighter. Chicago: Chicago Paperback House, 1962. Paperback original. Cover blurb: "The dedicated obsession of a fanatical sport. As in the bullring—to the death. Legal in Florida—illegal in the forty-nine other states. The iron will of a man, whose entire life was channeled into one supreme ambition!"
 * Cockfighter. New York: Crown Publishers, 1972. Hardcover. A slightly rewritten second edition of the novel.

 * The Burnt Orange Heresy. New York: Crown Publishers, 1971. Willeford's first hardcover original.
 * The Hombre from Sonora. New York: Lenox Hill Press, 1971. His second hardcover original. Published under the pseudonym "Will Charles." Willeford's original title was The Difference.
 * The Difference. Tucson, Arizona: Dennis McMillan Publications, 1999. Hardcover reprint, with Willeford's original title restored.

 * Kiss Your Ass Good-Bye. Miami Beach, Florida: Dennis McMillan Publications, 1987. Hardcover. A self-contained fragment from Willeford's novel The Shark-Infested Custard, finished by early 1975, but rejected by everyone who saw it as "too depressing" to publish. Four hundred–copy press run.
 * A Charles Willeford Omnibus. London: MacDonald and Co, 1991. Hardcover. Collects Pick-Up, The Burnt Orange Heresy, and Cockfighter.
 * The Shark-Infested Custard. Novato, California: Underwood-Miller Books, 1993. Hardcover. The novel deemed "too depressing" to publish when offered around in the mid-seventies, in print at last. As an in-joke, the novel's four protagonists discuss Monte Hellman's Two-Lane Blacktop and its star, Warren Oates, in the first chapter. Oates collaborated with Hellman on the film adaptation of Cockfighter.
 * The Shark-Infested Custard. New York: Dell, 1996. Paperback reprint. Includes an introduction by Lawrence Block.

Poetry

 * The Outcast Poets. Yonkers, New York: Alicat Bookshop Press, 1947. No. 8 in the Alicat Bookshop Press "Outcast" chapbook series. Collects poems by Willeford and four other writers.
 * Proletarian Laughter. Yonkers, New York: Alicat Bookshop Press, 1948. No. 12 in the "Outcast" chapbook series. Contains a preface by the author and seven prose "Schematics" interlaced with the poems. One thousand–copy press run.
 * Poontang and Other Poems. Crescent City, Florida: New Athenaeum Press, 1967. Self-published saddle-stapled chapbook of poetry. Five hundred–copy press run.

Short stories and nonfiction

 * The Machine in Ward Eleven. New York: Belmont Books, 1963. Paperback original. Short story collection. Willeford stated, "I had a hunch that madness was a predominant theme and a normal condition for Americans living in the second half of this century. The publication of The Machine in Ward Eleven (1963) and its reception by readers confirmed what I had only heretofore suspected."
 * A Guide for the Undehemorrhoided. Kendall, Florida: self-published, 1977. Hardcover. A short account of Willeford's hemorrhoid operation. One thousand–copy press run.
 * Off the Wall. Montclair, New Jersey: Pegasus Rex Press, 1980. Hardcover. Nonfiction. An account of the Son of Sam case, telling the story of Craig Glassman, the deputy sheriff who captured David Berkowitz.

 * Something About a Soldier. New York: Random House, 1986. Hardcover. Autobiography, covering Willeford's first hitches in the peacetime Army and Air Force in the Philippines and California, from age sixteen to age twenty.
 * New Forms of Ugly: The Immobilized Hero in Modern Fiction. Miami Beach, Florida: Dennis McMillan Publications, 1987. Hardcover. (Willeford's New York Times obituary incorrectly gives it as The Immobilized Man in Modern Literature. ) A revised version of The Immobilized Man: A New Hero In Modern Fiction, Willeford's University of Miami master's thesis. A survey of the literature of angst, covering writers from Fyodor Dostoevsky, through Franz Kafka and Samuel Beckett, to Chester Himes and Saul Bellow. 350-copy press run.
 * Everybody's Metamorphosis. Missoula, Montana: Dennis McMillan Publications, 1988. Hardcover and limited-edition goatskin. Collection of short stories and essays. Includes annotated bibliography by Don Herron. 374-copy hardcover and 26-copy goatskin press run.
 * I Was Looking for a Street. Woodstock, Vermont: Countryman Press, 1988. Hardcover. Autobiography, covering Willeford's childhood and the period when he went on the road as a teenager during the Depression, before joining the army.
 * Collected Memoirs of Charles Willeford. Sarasota, Florida: Disc-Us Books, 1988. Paperback. Collects Something About a Soldier and I Was Looking for a Street.
 * Cockfighter Journal: The Story of a Shooting. Santa Barbara, California: Neville Publishing, 1989. Hardcover. Autobiography, covering the filming of the Roger Corman production of Cockfighter (for which Willeford both wrote the screenplay and acted the role of Ed Middleton), taken from a diary he kept during the shoot.
 * Writing and Other Blood Sports. Tucson, Arizona: Dennis McMillan Publications, 2000. Hardcover. Collection of essays on writing, writers, and related facts of life. Includes New Forms of Ugly. One thousand–copy press run.
 * The Second Half of the Double Feature. New Albany, Indiana: Wit's End Publishing, 2003. Hardcover and trade paperback. Collection of short stories, vignettes, and autobiographical sketches. The hardcover also includes Willeford's complete poetry.

A full bibliography can be found in Don Herron's biography Willeford (1997).

title: Charles Willeford


text:
Talk:All-female band

Needs more discussion of 60s female rock bands; statement about post-Ebert proliferation misleading; should mention garage rock;

 * The article, though it provides a brief discussion, says way too little about the female rock bands of the 60s--the all-time heyday for female rock bands (in terms of numbers of groups). It mentions only a few bands.  Some of the better known groups, such as The Luv'd Ones, The Liverbirds, The Continental Co-ets,The Shaggs, The Moppets, The Fatimas, The Mod 4, and The She's are not mentioned.  I am not advocating that all of the bands on that website be mentioned here (this is a summary--space would not allow), but that there could be more said, about the breadth and scope of the 60s female rock band phenominon.  The period warrants far more discussion than is given.  Wording such as "proliferation," and/or "phenominon" would be accurate and appropriate descriptions for the female bands of this era (1963-1967).  The article makes it look as if there were only a handful of 60s girl bands, when there were never more than at that time.

 * The article makes it look as if there were more female rock bands in the 70s and 80s, which is not even remotely true. The statement about bands "springing up" after Ebert's remarks is misleading.  While a few probably did spring up after that, they were not nearly enough to fill all of the boots (made for walkin') by the 60s girl bands--not even close.  Keep in mind that the 60s girl band phenominon had already lost steam after 1967, with the demise of the garage rock phenominon, so any bounce from Ebert's remarks would be a step back up.

Garagepunk66 (talk) 01:32, 20 January 2014 (UTC)
 * By the way, most of these bands were part of the Garage Rock phenominon. But, the article makes no mention of that, when it is essential knowlege. That should be mentioned. Garagepunk66 (talk) 04:40, 15 March 2013 (UTC)

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2000s and 2010s
Why is there no section for all-female bands from this century? I would think that that would be the most important information this article could offer, but there’s no mention of them at all... VictimOfEntropy (talk) 02:30, 20 November 2020 (UTC)

title: Talk:All-female band


text:
User talk:Sweetwillams

Thanks for experimenting with Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. -- Ec5618 15:22, Jun 13, 2005 (UTC)

Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia. --W(t) 22:02, 2005 Jun 13 (UTC)

title: User talk:Sweetwillams


text:
Whimple railway station

Whimple railway station serves the village of Whimple in east Devon, England. It is operated by South Western Railway which provides services on the West of England Main Line. It is 163 mi down the line from London Waterloo.

History
The station was opened by the LSWR on 19 July 1860, along with its Exeter Extension from Yeovil Junction to Exeter Queen Street. The station was situated to the east of the village and designed by the architect Sir William Tite. The main building was situated on the up platform and was two-storeys high to provide the station master with accommodation. The goods shed was nearby at the east end of the station, and a signal box was built opposite on the other platform in 1875. In 1892 Henry Whiteway established a cider factory on the north side of the station. This generated much of the goods traffic at the station; in the 1930s it was estimated that the factory was responsible for 30,000 tons of traffic each year.

On 11 June 1967 all passenger trains were diverted to the down platform. The track through the northern platform was retained to serve Whiteway’s factory, but the signal box was closed and the train crew operated the points. Public goods traffic was withdrawn on 4 December 1967 but Whiteways continued to handle rail traffic. The station became unstaffed on 5 October 1970.

The Whiteways factory closed in 1989 and this allowed a redevelopment of the site. The goods shed was demolished in 1991 and houses were then built instead. The following year the original London bound platform was extended across the disused formation of the London bound track to meet the running line and was brought back into use. The other platform and the footbridge were then demolished.

Facilities
The single platform has a simple metal and glass waiting shelter, as well as a ticket machine, a help point and bike racks..

Services
All services at Whimple are operated by South Western Railway using and  DMUs.

The typical off-peak service in trains per hour is one train every two hours between Exeter St Davids and London Waterloo via Salisbury, increasing to hourly at peak times.

Due to the short platform at this station, passengers wishing to alight need to be in the front 3 coaches of the train as the platform can only take 3-car trains.

title: Whimple railway station


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Talk:List of CPU sockets

merge request:
 * List of AMD CPU slots and sockets
 * List of Intel CPU slots and sockets

This page is ordered by date, and those two are by CPU family. I can see reasons for both orderings, though of course once they are grouped by family that's sort of got the age there too if you order the CPUs from old to new. -- Tarquin 15:25, 13 Jun 2005 (UTC)

Socket 480
Does the Pentium M Dual-Core use Socket 480? According to the Socket 479 Article, all Pentium M's use it, as well as the Intel Core microprocessors using a modified version. Not sure, so I won't delete, but if anyone is, can they please fix it? QuantumCypher 11:31, 8 April 2006 (UTC)

Deletion of the page
If you look at the CPU Sockets page, it seems most of the important info from this article is there. Should this page be deleted, or should more info be put into the other article? Geekosaurus 17:25, 4 August 2006 (UTC)

title: Talk:List of CPU sockets


text:
User talk:62.252.64.15

Thanks for experimenting with Wikipedia. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing in articles will be reverted quickly. Please see the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. smoddy 13:03, 25 Jun 2005 (UTC)

Please don't add nonsense or vanity articles. Personal information belongs on a user page. Thanks. - Lucky 6.9 21:17, 26 Jun 2005 (UTC)

Please stop adding nonsense to Wikipedia. It is considered vandalism. If you would like to experiment, use the sandbox. Thank you. Jtkiefer July 4, 2005 21:05 (UTC)

Please do not remove VFD notices. Evil Monkey∴Hello July 9, 2005 01:41 (UTC)

Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia. A и D я 01D TALK  EMAIL  July 9, 2005 01:47 (UTC)

Please don't do cut and paste moves, rather register for an account and user the move button. Sasquatch ↔讲↔看 23:39, August 3, 2005 (UTC)

Welcome to Wikipedia, the free encyclopedia! You don't have to log in to read or edit articles on Wikipedia, but creating an account is quick, free and non-intrusive, requires no personal information, and gives you many benefits, including:
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We hope that you choose to become a Wikipedian and create an account. We hope you enjoy your time here on Wikipedia as a Wikipedian! Sasquatch ↔讲↔看 23:39, August 3, 2005 (UTC)

Yes, but an admin can, next time, try to contact on as cut and paste moves violate GFDL, our founding policy. Basically, just don't do them, contact an admin (like me) to delete a page and then you can move it. Sasquatch ↔讲↔看 23:46, August 3, 2005 (UTC)

Proposed deletion of Roger Malcolm Taylor

The article Roger Malcolm Taylor has been proposed for deletion  because of the following concern:
 * Apparent WP:HOAX, unable to find sources to confirm the subject even exists. Someone claiming to be the subject says the article is untrue.

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the  notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing  will stop the proposed deletion process, but other deletion processes exist. The speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. Hut 8.5 21:15, 28 October 2010 (UTC)

Proposed deletion of Eileen Catterson

The article Eileen Catterson has been proposed for deletion because it appears to have no references. Under Wikipedia policy, this biography of a living person will be deleted after seven days unless it has at least one reference to a reliable source that directly supports material in the article.

If you created the article, please don't be offended. Instead, consider improving the article. For help on inserting references, see Referencing for beginners, or ask at the help desk. Once you have provided at least one reliable source, you may remove the prod blp/dated tag. Please do not remove the tag unless the article is sourced. If you cannot provide such a source within seven days, the article may be deleted, but you can when you are ready to add one. Natureium (talk) 19:07, 30 August 2018 (UTC)

Proposed deletion of Ross Renton

The article Ross Renton has been proposed for deletion because of the following concern: "Does not appear to meet WP:NACADEMIC; BLP sources tag since 2007 and notability tag since 2009"

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title: User talk:62.252.64.15


text:
Death Wish (Star Trek: Voyager)

"Death Wish" is the 18th episode of the second season of the American science fiction television series Star Trek: Voyager, the 34th episode overall. The episode originally aired on February 19, 1996. The episode features a new member of the Q Continuum named Quinn, and appearances by Star Trek: The Next Generation alumni William Riker (Jonathan Frakes) and Q (John de Lancie).

Plot
Voyager encounters a comet, inside which there is a single living being. It turns out to be a member of the Q Continuum (later designated as Quinn). Quinn thanks the Voyager crew for freeing him from his imprisonment, then tries to commit suicide. He is unsuccessful (see omnipotence paradox) and causes all the males on Voyager to vanish instead.

Q himself appears and accuses Quinn of sending humans to the Delta Quadrant where they did not belong yet, then realizes all the men are missing and returns them. Quinn requests Federation asylum from Janeway when Q wants to re-impose the Q Continuum's sentence of imprisonment. Q laughs at the request for asylum (the two Q even going as far as an extreme hide-and-seek chase) but Janeway decides to hold a hearing on Quinn's request. Q reluctantly agrees to make Quinn human if he is granted asylum. He attempts to bribe Janeway throughout the episode, claiming that if she rules against Quinn, he'll send Voyager home; it is also hinted that he is infatuated with her.

During the hearing, Q summons witnesses to testify against Quinn's suicide. Another Q defends the justice system of the continuum. Sir Isaac Newton claimed that he was sitting beside Quinn when the apple struck his head (after Quinn stood up to leave, he jostled the tree, causing the apple to fall). Another witness, Maury Ginsberg, claims that if Quinn had not offered a ride in his jeep, he would have never made it to Woodstock, got the sound system working, and met his future wife. Finally, William Riker of the USS Enterprise denies any claim to have known Quinn at all, until Q shows Riker that Quinn had helped his family in the past: as a soldier in the American Civil War, Quinn carried a wounded Union officer, Colonel Thaddeus Riker, back from the front lines to safety – ultimately ensuring Will Riker's existence in the future.

Quinn's argument involves a representation of the Q Continuum, which appears as a road stretching around the entire planet with one rest stop, a country gas station and store, and some bored Q standing around. Quinn describes immortality as dull, explaining that it is only possible to experience the universe so many times before it gets boring. Q tries to dismiss it and makes a poor attempt to show that the other members of the continuum are happy, but Quinn sees through it and confesses, to Q's surprise, that it was Q's earlier unrestrained behavior in an attempt to make his life fun (which led to the events in "Deja Q") that was the motivation for his own actions. He makes an impassioned speech comparing his eternal boredom to suffering from a terminal biological disease for which suicide is the only humane release, and that being forced to live for eternity against his will "cheapens and denigrates" his life, and indeed all life. Janeway is clearly moved by this and agrees to grant him asylum. Keeping his part of the bargain begrudgingly, Q makes him human. At this point, Quinn chooses his name.

While trying to decide where to assign Quinn so that he will not use his knowledge to evolve humanity overnight, Janeway and Chakotay receive a message from the Doctor that Quinn is dying after ingesting a rare poison, Nogatch hemlock. After they realize that the Doctor did not keep any of the poison on hand, and that the computer would not replicate it due to its harmful nature, Q then appears and admits that he was the one who gave Quinn the poison: he's taking up Quinn's rebellion against the staid order of the Q ("By demanding to end his life, he taught me a little something about my own. He was right when he said the Continuum scared me back in line. I didn't have his courage or his convictions. He called me irrepressible. This was a man who was truly irrepressible. I only hope I make a worthy student.").

Reception
In 2012, Den of Geek ranked this as an honorable mention as a candidate for their ranking of the top ten episodes of Star Trek: Voyager. In 2017, Den of Geek ranked actor Gerrit Graham as the character featured in this episode, Quinn, as the best guest star on Star Trek: Voyager.

title: Death Wish (Star Trek: Voyager)


text:
New Caledonian languages

The thirty New Caledonian languages also known as Kanak languages form a branch of the Southern Oceanic languages. Their speakers are known as Kanaks. One language is extinct, one is critically endangered, four are severely endangered, five are endangered, and another five are vulnerable to extinction.

Typology
The Cèmuhî, Paicî, Drubea, Numèè, and Kwenyii languages are tonal.

Other than phonemically contrastive tone, typological features in New Caledonian languages that are typically unusual for Oceanic languages include nasalized vowels, very large vowel inventories, retroflex consonants, and voiceless nasals.

Languages

 * Loyalty Islands
 * Drehu (Lifou Island)
 * Iaai (Ouvéa Island)
 * Nengone (Maré Island)
 * Mainland New Caledonian
 * Southern New Caledonian
 * Extreme Southern
 * Ndrumbea (vulnerable)
 * Numèè
 * Mid-Southern
 * Xârâcùù–Xârâgurè:
 * Xârâcùù
 * Xârâgurè (endangered)
 * Zire–Tîrî:
 * Tîrî (endangered)
 * Zire †
 * Wailic
 * Ajië
 * Arhâ (severely endangered)
 * Arhö (critically endangered)
 * Neku (severely endangered)
 * Orowe (endangered)
 * Northern New Caledonian
 * Haeke*
 * Haveke*
 * Vamale*
 * Central Northern
 * Cèmuhî
 * Paicî
 * North Northern
 * Pwaamei (endangered)
 * Pwapwa (severely endangered)
 * Bwatoo
 * Hmwaveke
 * Waamwang
 * Fwâi
 * Jawe (vulnerable)
 * Nemi (vulnerable)
 * Pije (severely endangered)
 * Extreme Northern
 * Caac (vulnerable)
 * Kumak (vulnerable)
 * Nyâlayu
 * Yuanga

The languages of the northern Voh–Koné area (*) are often discussed as a unit.

title: New Caledonian languages