title: System Shock

text: Church later said that the team "stumbled into a nice villain" with SHODAN, in that she could routinely and directly affect the player's gameplay "in non-final ways". Through triggered events and through objects in the environment, such as security cameras that the player must destroy, the team made SHODAN's presence part of the player's exploration of the world. Because SHODAN interacts with the player as a "recurring, consistent, palpable enemy", Church believed that she meaningfully connects the player to the story. "System Shock" concept artist Robb Waters created SHODAN's visual design, and LoPiccolo recruited his bandmate Terri Brosius to voice the character. Brosius said that her goal during the recording sessions was to speak "without emotion, but with some up and down inflections". Afterward, her voice was heavily edited in post-production, which created a robotic effect inspired by the voice of Max Headroom. LoPiccolo later said that the large number of effects on Brosius's voice were "laboriously hand-done" with Sound Designer, which lacked the features that a sound editor would normally use to achieve such results. SHODAN's dialogue early in the game was given "a few glitches" to hint at her corrupted status. LoPiccolo increased the number of these effects throughout the game, which creates an "arc" that ends with SHODAN "completely out of her mind [... and] collapsing as an entity". The character of the hacker arose as a reaction against the protagonist of the "Ultima" series, the Avatar. According to Grossman, they wanted to cast the player as someone "interestingly morally compromised" who had a stake in the situation.


title: System Shock

text: Seamus Blackley designed the game's physics system, which is a modified version of the one he wrote for Looking Glass's flight simulator Flight Unlimited. At the time, Church described it as "far more sophisticated than what you would normally use for an indoor game". The system governs, among other things, weapon recoil and the arc of thrown objects; the latter behave differently based on their weight and velocity. The game's most complex physics model is that of the player character. Church explained that the character's head "tilts forward when you start to run, and jerks back a bit when you stop", and that, after an impact against a surface or object, its "head is knocked in the direction opposite the hit, with proportion to [the] mass and velocity of the objects involved". On coding physics for Looking Glass Technologies games, Blackley later said, "If games don't obey physics, we somehow feel that something isn't right", and that "the biggest compliment to me is when a gamer doesn't notice the physics, but only notices that things feel the way they should".


title: System Shock

text: Spector's role as a producer gave him the job of explaining the game to the publisher, which he called his "biggest challenge". He explained that they "didn't always get what the team was trying to do", and said, "You don't want to know how many times the game came "this" close to being killed (or how late in the project)". According to Church, Looking Glass' internal management largely ignored "System Shock", in favor of the concurrently-developed "Flight Unlimited"—the game "that had to be the hit, because it was the self-published title". Spector organized a licensing deal between Electronic Arts and Looking Glass that gave the former the trademark to the game, but the latter the copyright. His goal was to ensure that neither party could continue the franchise without the other's involvement. While Cyberspace was originally conceived as a realistic hacking simulation—which could even be used to reimplement SHODAN's ethical constraints—it was simplified after Origin Systems deemed it too complicated. The game's star field system was written by programmer James Fleming. Marc LeBlanc was the main creator of the game's HUD, which he later believed was too complicated. He said that it was "very much the Microsoft Word school of user interface", in that there was no "feature that you [could not] see on the screen and touch and play with".


title: System Shock

text: LoPiccolo composed the game's score—called "dark", "electronic" and "cyberpunk" by the "Boston Herald"—on a Macintosh computer and inexpensive synthesizer, using Audio Vision. It dynamically changes according to the player's actions, a decision made in keeping with the team's focus on emergent gameplay. Each track was "written at three different intensity levels", which change depending on the player's nearness to enemies; and certain events, such as victory in combat, trigger special music. The game's tracks were composed of four-bar segments that could be rearranged dynamically in reaction to game events, with "melodies through-composed on top". LoPiccolo noted that, when using this method, it is necessary to write music that "still flows with the overall theme and doesn't jump around". Because the score was closely tied to the gameplay, LoPiccolo had to work closely with Church and Rob Fermier, the latter of whom wrote the "interactive scoring module" that allowed for dynamic music. After recording the music, LoPiccolo recorded all of the game's sound effects. He later recalled visiting an automobile repair shop with "portable recorder and a mic", and "having [his] mechanic [...] hit things with wrenches and so forth, just to get the raw material". He developed the game's audio over 16 months, working on a contractual basis until Tribe disbanded in May 1994; Ned Lerner gave him a full-time job as audio director the next day. Tim Ries composed the "Elevator" music.


title: System Shock

text: The original September 1994 floppy disk release of "System Shock" had no support for spoken dialogue. The enhanced CD-ROM was released in December 1994, which featured full speech for logs and e-mails, multiple display resolutions, and more detailed graphics. The CD-ROM version is often considered to be superior to the floppy version. After completing work on the sound and music for the floppy version, LoPiccolo recorded all of the spoken dialogue for the CD release, using company employees and his friends' voices, which he mixed with ambient sounds to create "audio vignettes". Doug Church later said, "We tried to keep them from shipping the floppy version and instead just ship the CD version, but Origin would have none of it". "System Shock" producer Warren Spector later expressed regret concerning the floppy version, stating, "I wish I could go back and make the decision not to ship the floppy version months before the full-speech CD version. The additional audio added so much it might as well have been a different game. The CD version seemed so much more, well, modern. And the perception of "Shock" was cemented in the press and in people's minds by the floppy version (the silent movie version!). I really think that cost us sales..."


title: System Shock

text: The game sold over 170,000 copies. "Maximum PC" believed that the game did not reach "blockbuster" status, but was successful enough to "keep Looking Glass afloat". GameSpy's Bill Hiles said, "Though it sold well, it never reached the frenzied popularity of <nowiki>[</nowiki>"Doom"<nowiki>]</nowiki>". Paul Neurath later said that the game "was not a flop", but that it ultimately "lost money" for the company, which he attributed to its steep learning curve. "Computer Gaming World" praised the game's scale, physics system, and true 3D environments; the magazine extolled the presentation of Cyberspace as "nothing short of phenomenal". However, the reviewer believed that the game had "little sense of urgency" and "confusing level layouts". "Computer Shopper" wrote that, while the game's controls were difficult to master compared to "simple run-and-shoot game[s] like "Doom"", they were "worth the time and effort". The reviewer noted that the game "grows on you, and it will keep you intrigued for weeks".


title: System Shock

text: The "Boston Herald" noted superficial similarities between "System Shock" and "Doom", but called "System Shock" "much more elaborate". The reviewer noted its high system requirements and complex controls; of the latter, he said, "There's no way you can play "System Shock" without first studying the manual for at least 20 minutes". The paper believed that the game would "set a new standard for computer games with its combination of action and puzzle-solving". "The Atlanta Journal-Constitution" said that the game "is like a well-prepared hamburger—familiar stuff, but good to the last byte". The reviewer noted the game's "somewhat clumsy control", but said, "That, however, is all I can find to complain about. Graphics and sound are outstanding, and the game is well-paced and riveting".


title: System Shock

text: "PC Gamer US" wrote, ""System Shock" smokes. It is the most fully immersive game world I have ever experienced". The reviewer praised the game's story and control system, and believed that "no matter what kind of game you're looking for, you'll find something in "System Shock" to delight you". He finished his review by stating that the game "unquestionably raises computer gaming to a new level". "Next Generation Magazine" summarized the game as "a great blend of strategy and action backed up with all the extras". Various sources have ranked SHODAN as one of the most effective antagonists and female characters in the history of video gaming. In the years following its release, "System Shock" has been inducted into many lists of the best video games of all time, including those by "PC Gamer", GameSpy, and "Computer Gaming World".


title: System Shock

text: In 1998, "PC Gamer" declared it the 6th-best computer game ever released, and the editors called it "one of the finest games ever due to its seductive game design that blended a fantastic storyline with meaningful, suspenseful action in a way that has rarely been equaled".


title: System Shock

text: In a Gamasutra feature, Patrick Redding of Ubisoft attested that "the fact that so many of "System Shock" features are now virtually "de rigueur" in modern sci-fi shooters is a testament to the influence exerted by this one game". GameSpy argued that the game "is the progenitor of today's story-based action games, a group with titles as diverse as "Metal Gear Solid", "Resident Evil", and even "Half-Life"". Eurogamer called the "System Shock" series "the benchmark for intelligent first-person gaming" and noted that it "kick-start[ed] the revolution which ... has influenced the design of countless other games". Steven Wright for "Glixel" said in a 2017 essay that "System Shock" still is important to gaming today, and that the only reasons it is not considered a "Mt. Olympus of gaming" is due to its lower sales compared to games like "Half-Life" that sold in the millions, and that at the time it was released, it was difficult for players to adjust to the complex systems in the game compared to straightforward first-person shooters.


title: System Shock

text: The game has been cited as a key popularizer of emergent gameplay, and alongside "Thief" and "Deus Ex", is considered one of the defining games of the immersive sim genre. Certain game developers have acknowledged "System Shock" influence on their products. With "Deus Ex", developer Warren Spector revealed a desire to "build on the foundation laid by the Looking Glass guys in games like ... "System Shock"". Developer Ken Levine has commented that the "spirit of "System Shock" is player-powered gameplay: the spirit of letting the player drive the game, not the game designer", and at Irrational Games "... that's always the game we ideally want to make". "System Shock" was one of the key inspirations behind Irrational's "BioShock".


title: System Shock

text: A sequel to "System Shock", titled "System Shock 2", was released by Looking Glass and Irrational Games in 1999 to further acclaim and awards.


title: System Shock

text: Following "System Shock 2"s release, and the subsequent closure of Looking Glass, the rights to the series had fallen to Meadowbrook Insurance Group (a subsidiary of Star Insurance Company), the entity that acquired the assets of Looking Glass. In 2012, Night Dive Studios were able to acquire the rights for "System Shock 2" and produced a digitally distributable version updated for modern operating systems. Night Dive Studios subsequently went on to acquire the rights for "System Shock" and the franchise as a whole. Night Dive said that they plan to release the source code of the game to the game community.


title: System Shock

text: A third game in the series was announced in 2015, titled "System Shock 3", and was to be developed by OtherSide Entertainment. Various trailers were released; however, in early 2020, it was announced that development team for "System Shock 3" had been let go by OtherSide and that the game was "critically behind". While OtherSide initially stated that it was still working on the project, they later announced in May 2020, via Twitter, that Tencent, one of China's largest video-game corporations, would be taking over development of the game and that they were no longer attached to it. Nightdive affirmed in August 2022 that Tencent now held the IP rights to the series, and if a third "System Shock" game were to be made, it would be up to Tencent as the Otherside team had since been transitioned to other projects.


title: System Shock

text: One of the first projects Night Dive Studios did following the acquisition of the rights was to develop System Shock: Enhanced Edition, which was released via GOG.com on September 22, 2015 for Microsoft Windows. Similar to the "System Shock 2" update, this version is intended to run on modern systems significantly easier among several other technical improvements such as the original resolution of 320×200, now boosted up to 1024×768 and 854×480 pixels in widescreen mode. The release also includes the original version of the game, titled "System Shock: Classic", with support for Microsoft Windows, OS X and Linux. "System Shock: Enhanced Edition" received very positive reviews. Metacritic calculated an average score of 85 out of 100, based on nine critic reviews. Cameron Farney of "COGconnected" said: "If you haven't played "System Shock" before, there’s never been a better time. Whether you’re into shooters or RPGs; or just want to experience a cyberpunk romp with a good beat, this one is for you."


title: System Shock

text: Shortly after the release of the "Enhanced Edition", Night Dive Studios announced their plans to develop a reimagining of "System Shock" for Microsoft Windows, Xbox One and PlayStation 4, featuring improved art assets and other improvements, and reworking the game to use the Unreal Engine 4 game engine. Initially, the game was announced as "System Shock Remastered", though was later changed to just "System Shock", as Night Dive considered that the effort they were putting into this makes it more of a reboot of the franchise rather than a remastering of the original game. Veteran designer Chris Avellone and members of the "" development team are helping Night Dive Studios with the game. While this was originally planned for 2018, Night Dive found that their vision had too much scope creep, and in early 2018, put the project on a brief hiatus to reassess their approach. Night Dive has since restarted its development but now simply staying true to bringing a version of "System Shock" to modern systems with minimal new additions, with release no sooner than 2020. The game has since been delayed to a release in March 2023.


title: System Shock

text: In April 2018 the Mac version's source code was released by Night Dive Studios on GitHub under the GNU GPL-3.0-or-later license, fulfilling a 2016 given promise. After one month of development, a cross-platform source port, called "Shockolate", for modern compilers and platforms was released by community developers.


title: System Shock

text: A planned live-action television series based on "System Shock" was announced in October 2021. The show will be made for Binge, a video-game-centric streaming service, to be produced by Allan Ungar and with Night Dive's Stephen Kick and Larry Kuperman serving as executive producers. In January 2022, it was announced that Greg Russo, screenwriter of "Mortal Kombat", had been tapped to direct, write, and executive produce the series.


title: Jazz Age

text: The Jazz Age was a period in the 1920s and 1930s in which jazz music and dance styles gained worldwide popularity. The Jazz Age's cultural repercussions were primarily felt in the United States, the birthplace of jazz. Originating in New Orleans as mainly sourced from the culture of African Americans, jazz played a significant part in wider cultural changes in this period, and its influence on popular culture continued long afterwards. The Jazz Age is often referred to in conjunction with the Roaring Twenties, and in the United States, it overlapped in significant cross-cultural ways with the Prohibition Era. The movement was largely affected by the introduction of radios nationwide. During this time, the Jazz Age was intertwined with the developing youth culture. The movement also helped start the beginning of the European Jazz movement.


title: Jazz Age

text: The term "jazz age" was in popular usage prior to 1920. In 1922, American writer F. Scott Fitzgerald further popularized the term with the publication of his short story collection "Tales of the Jazz Age".


title: Jazz Age

text: Jazz is a music genre that originated in the Black-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. New Orleans provided a cultural humus in which jazz could germinate because it was a port city with many cultures and beliefs intertwined. In the city, the development of jazz was influenced by Creole music, ragtime, and blues.


title: Jazz Age

text: Jazz is seen by many as "America's classical music". In the beginning of the 20th century, dixieland jazz developed as an early form of jazz. In the 1920s, jazz became recognized as a major form of musical expression. It then emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of Black-American and European-American musical parentage with a performance orientation. From Africa, jazz derived its rhythm, "blues", and traditions of playing or singing in one's own expressive way. From Europe, jazz derived its harmony and instruments.


title: Jazz Age

text: Louis Armstrong brought the improvisational solo to the forefront of a piece. Jazz is generally characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation.


title: Jazz Age

text: Prohibition in the United States was a nationwide constitutional ban on the production, importation, transportation, and sale of alcoholic beverages from 1920 to 1933. In the 1920s, the laws were widely disregarded, and tax revenues were lost. Well-organized criminal gangs took control of the beer and liquor supply for many cities, unleashing a crime wave that shocked the U.S. This prohibition was taken advantage of by gangsters such as Al Capone, and approximately $60 million () in illegal alcohol was smuggled across the borders of Canada and the United States. The resulting illicit speakeasies that grew from this era became lively venues of the "Jazz Age", hosting popular music that included current dance songs, novelty songs and show tunes.


title: Jazz Age

text: By the late 1920s, a new opposition mobilized across the U.S. Anti-prohibitionists, or "wets," attacked prohibition as causing crime, lowering local revenues, and imposing rural Protestant religious values on urban America. Prohibition ended with the ratification of the Twenty-first Amendment, which repealed the Eighteenth Amendment on December 5, 1933. Some states continued statewide prohibition, marking one of the latter stages of the Progressive Era.


title: Jazz Age

text: Formed as a result of the eighteenth amendment, speakeasies were places (often owned by organized criminals) where customers could drink alcohol and relax or speakeasy. Jazz was played in these speakeasies as a countercultural type of music to fit in with the illicit environment and events going on. Jazz artists were therefore hired to play at speakeasies. Al Capone, the famous organized crime leader, gave jazz musicians previously living in poverty a steady and professional income. Thaddeus Russell, in "A Renegade History of the United States", states: "The singer Ethel Waters fondly recalled that Capone treated her 'with respect, applause, deference, and paid in full.'" Also from A Renegade History of the United States, "The pianist Earl Hines remembered that 'Scarface [Al Capone] got along well with musicians. He liked to come into a club with his henchmen and have the band play his requests. He was very free with $100 tips." The illegal culture of speakeasies lead to what was known as "black and tan" clubs which had multiracial crowds.


title: Jazz Age

text: There were many speakeasies, especially in Chicago and New York. New York had, at the height of Prohibition, 32,000 speakeasies. At speakeasies, both payoffs and mechanisms for hiding alcohol were used. Charlie Burns, in recalling his ownership of several speakeasies employed these strategies as a way to preserve his and Jack Kriendler's illegal clubs. This includes forming relationships with local police. Mechanisms that a trusted engineer created include one that when a button was pushed, tongue blocks under shelves of liquor would drop, making the shelves drop back and liquor bottles fall down a chute, break, and drain the alcohol through rocks and sand. An alarm also went off if the button was pushed to alert customers of a raid. Another mechanism used by Burns was a wine cellar with a thick door flush with the wall. It had a small, almost unnoticeable hole for a rod to be pushed in to activate a lock and open the door.


title: Jazz Age

text: As to where speakeasies obtained alcohol, there were rum runners and bootleggers. Rum running, in this case, was the organized smuggling of liquor by land or sea into the U.S. Decent foreign liquor was high-end alcohol during prohibition, and William McCoy had some of the best of it. Bill McCoy was in the rum-running business, and at certain points of time was ranked among the best. To avoid being caught, he sold liquor just outside the territorial waters of the United States. Buyers would come to him to pick up his booze as a precaution for McCoy. McCoy's liquor specialty was selling high-quality whiskey without diluting the alcohol. Bootlegging was making and or smuggling alcohol around the U.S. As selling the alcohol could make plenty of money, there are several major ways this was done. One strategy used by Frankie Yale and the Genna brothers gang (both involved in organized crime) was to give poor Italian Americans alcohol stills to make alcohol for them at $15 per day's work. Another strategy was to buy liquor from rumrunners. Racketeers would also buy closed breweries and distilleries and hire former employees to make alcohol. Another person famous for organized crime named Johnny Torrio partnered with two other mobsters and legitimate brewer Joseph Stenson to make illegal beer in a total of nine breweries. Finally, some racketeers stole industrial grain alcohol and redistilled it to sell in speakeasies.


title: Jazz Age

text: From 1919, Kid Ory's Original Creole Jazz Band of musicians from New Orleans played in San Francisco and Los Angeles, where in 1922 they became the first black jazz band of New Orleans origin to make recordings. The year also saw the first recording by Bessie Smith, the most famous of the 1920s blues singers. Chicago, meanwhile, was the main center developing the new "Hot Jazz", where King Oliver joined Bill Johnson. Bix Beiderbecke formed The Wolverines in 1924.


title: Jazz Age

text: The same year, Louis Armstrong joined the Fletcher Henderson dance band as featured soloist, leaving in 1925. The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept, and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young Coleman Hawkins), sounded "stiff, stodgy," with "jerky rhythms and a grey undistinguished tone quality." The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by George W. Meyer and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924). (The example approximates Armstrong's solo, as it does not convey his use of swing.)


title: Jazz Age

text: Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his virtuosic Hot Five band, which included instrumentalist's Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), and wife Lil on piano, where he popularized scat singing.


title: Jazz Age

text: Jelly Roll Morton recorded with the New Orleans Rhythm Kings in an early mixed-race collaboration, then in 1926 formed his Red Hot Peppers. There was a larger market for jazzy dance music played by white orchestras, such as Jean Goldkette's orchestra and Paul Whiteman's orchestra. In 1924, Whiteman commissioned Gershwin's "Rhapsody in Blue", premiered by Whiteman's Orchestra. Writer F. Scott Fitzgerald opined that "Rhapsody in Blue" idealized the youthful zeitgeist of the Jazz Age. By the mid-1920s, Whiteman was the most popular bandleader in the U.S. His success was based on a "rhetoric of domestication" according to which he had elevated and rendered valuable a previously inchoate kind of music. Other influential large ensembles included Fletcher Henderson's band, Duke Ellington's band (which opened an influential residency at the Cotton Club in 1927) in New York, and Earl Hines' Band in Chicago (who opened in The Grand Terrace Cafe there in 1928). All significantly influenced the development of big band-style swing jazz. By 1930, the New Orleans-style ensemble was a relic, and jazz belonged to the world.


title: Jazz Age

text: Several musicians grew up in musical families, where a family member would often teach how to read and play music. Some musicians, like Pops Foster, learned on homemade instruments.


title: Jazz Age

text: Urban radio stations played African-American jazz more frequently than suburban stations, due to the concentration of African Americans in urban areas such as New York and Chicago. Younger demographics popularized the black-originated dances such as the Charleston as part of the immense cultural shift the popularity of jazz music generated.


title: Jazz Age

text: The 1930s belonged to popular swing big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher Henderson, Earl Hines, Harry James, Jimmie Lunceford, Glenn Miller and Artie Shaw. Although it was a collective sound, swing also offered individual musicians a chance to "solo" and improvise melodic, thematic solos which could at times be complex "important" music.


title: Jazz Age

text: Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders recruit white ones. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist Lionel Hampton and guitarist Charlie Christian to join small groups. In the 1930s, Kansas City Jazz as exemplified by tenor saxophonist Lester Young marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as "jumping the blues" or jump blues used small combos, uptempo music and blues chord progressions, drawing on boogie-woogie from the 1930s.


title: Jazz Age

text: The introduction of large-scale radio broadcasts enabled the rapid national spread of jazz in 1932. The radio was described as the "sound factory." Radio made it possible for millions to hear music for free — especially people who never attended expensive, distant big city clubs. These broadcasts originated from clubs in leading centers such as New York, Chicago, Kansas City, and Los Angeles. There were two categories of live music on the radio: concert music and big band dance music. The concert music was known as "potter palm" and was concert music by amateurs, usually volunteers. Big band dance music is played by professionals and was featured from nightclubs, dance halls, and ballrooms.


title: Jazz Age

text: Musicologist Charles Hamm described three types of jazz music at the time: black music for black audiences, black music for white audiences, and white music for white audiences. Jazz artists like Louis Armstrong originally received very little airtime because most stations preferred to play the music of white American jazz singers. Other jazz vocalists include Bessie Smith and Florence Mills. In urban areas, such as Chicago and New York, African-American jazz was played on the radio more often than in the suburbs. Big-band jazz, like that of James Reese Europe and Fletcher Henderson in New York, attracted large radio audiences.


title: Jazz Age

text: Young people in the 1920s used the influence of jazz to rebel against the traditional culture of previous generations. This youth rebellion of the 1920s included such things as flapper fashions, women who smoked cigarettes in public, a willingness to talk about sex freely, and radio concerts. Dances like the Charleston, developed by African Americans, suddenly became popular among the youth. Traditionalists were aghast at what they considered the breakdown of morality. Some urban middle-class African Americans perceived jazz as "devil's music", and believed the improvised rhythms and sounds were promoting promiscuity.


title: Jazz Age

text: With women's suffrage—the right for women to vote—at its peak with the ratification of the Nineteenth Amendment on August 18, 1920, and the entrance of the free-spirited flapper, women began to take on a larger role in society and culture. With women now taking part in the work force after the end of the First World War there were now many more possibilities for women in terms of social life and entertainment. Ideas such as equality and open sexuality were very popular during the time and women seemed to capitalize on these ideas during this period. The 1920s saw the emergence of many famous women musicians, including Bessie Smith. Bessie Smith also gained attention because she was not only a great singer but also an African-American woman. She has grown through the ages to be one of the most well respected singers of all time and inspired later performers such as Billie Holiday.


title: Jazz Age

text: Lovie Austin (1887–1972) was a Chicago-based bandleader, session musician (piano), composer, singer, and arranger during the 1920s classic blues era. She and Lil Hardin Armstrong often are ranked as two of the best female jazz blues piano players of the period.


title: Jazz Age

text: Piano player Lil Hardin Armstrong was originally a member of King Oliver's band with Louis, and went on to play piano in her husband's band the Hot Five and then his next group called the Hot Seven. It was not until the 1930s and 1940s that many women jazz singers, such as Bessie Smith and Billie Holiday, were recognized as successful artists in the music world. Another famous female vocalist who attained stardom at the tail-end of the Jazz Age was Ella Fitzgerald, one of the more popular female jazz singers in the United States for more than half a century and later dubbed "The First Lady of Song". She worked with all the jazz greats of the era, including Chick Webb, Duke Ellington, Count Basie, and Benny Goodman. These women were persistent in striving to make their names known in the music industry and to lead the way for many more women artists to come.


title: Jazz Age

text: The birth of jazz is credited to African Americans. But it was modified to become socially acceptable to middle-class white Americans. Those critical of jazz saw it as music from people with no training or skill. White performers were used as a vehicle for the popularization of jazz music in America. Although jazz was taken over by the white middle-class population, it facilitated the mesh of African American traditions and ideals with white middle-class society.


title: Jazz Age

text: As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman, and Lonnie Johnson, who visited Europe during and after World War I. It was their live performances which inspired European audiences' interest in jazz, as well as the interest in all things American (and therefore exotic) which accompanied the economic and political woes of Europe during this time. The beginnings of a distinct European style of jazz began to emerge in this interwar period.


title: Jazz Age

text: British jazz began with a tour by the Original Dixieland Jazz Band in 1919. In 1926, Fred Elizalde and His Cambridge Undergraduates began broadcasting on the BBC. Thereafter jazz became an important element in many leading dance orchestras, and jazz instrumentalists became numerous. Very soon, the resulting music craze in the United Kingdom led to a moral panic in which the threat of jazz to society was exemplified by Scottish artist John Bulloch Souter's controversial 1926 painting "The Breakdown". The painting has been described as embodying the fears of Western civilization towards jazz music, and the painting was later destroyed by its author to placate critics who insisted the work should be burned.


title: Jazz Age

text: The European style of jazz entered full swing in France with the Quintette du Hot Club de France, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two. Belgian guitarist Django Reinhardt popularized gypsy jazz, a mix of 1930s American swing, French dance hall "musette", and Eastern European folk with a languid, seductive feel; the main instruments were steel-stringed guitar, violin, and double bass. Solos pass from one player to another as guitar and bass form the rhythm section. Some researchers believe Eddie Lang and Joe Venuti pioneered the guitar-violin partnership characteristic of the genre which was brought to France after they had been heard live or on Okeh Records in the late 1920s.


title: Jazz Age

text: During this time period, jazz began to get a reputation as being immoral, and many members of the older generations saw it as threatening the old cultural values and promoting the new decadent values of the Roaring Twenties. Professor Henry van Dyke of Princeton University wrote: "... it is not music at all. It's merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion." The media too began to denigrate jazz. "The New York Times" used stories and headlines to pick at jazz: Siberian villagers were said by the paper to have used jazz to scare off bears, when in fact they had used pots and pans; another story claimed that the fatal heart attack of a celebrated conductor was caused by jazz.


title: Jazz Age

text: As jazz flourished, American elites who preferred classical music sought to expand the listenership of their favored genre, hoping that jazz would not become mainstream. Controversially, jazz became an influence on composers as diverse as George Gershwin and Herbert Howells.


title: Hispano-Suiza HS.404

text: The HS.404 is an autocannon originally designed and produced by Spanish/French company Hispano-Suiza in the mid-1930s. It was widely used as an aircraft, naval and land-based weapon by French, British, American and other military services, particularly during World War II. The cannon is also referred to as Birkigt type 404, after its designer Marc Birkigt and later versions based on British development are known as 20 mm Hispano.


title: Hispano-Suiza HS.404

text: Firing a 20 mm calibre projectile, it delivered a significant load of explosive from a relatively light weapon. This made it an ideal anti-aircraft weapon for mounting on light vehicles, as well as a fighter aircraft gun, replacing the 7.62 mm (.30 calibre) and .303 inch (7.7 mm) machine guns commonly used in military aircraft of the 1930s. The HS.404 was produced by the French subsidiary of Hispano-Suiza, and under license by a variety of companies in other countries.


title: Hispano-Suiza HS.404

text: The first widely used 20 mm aircraft cannon was the Becker model, introduced into German service in World War I. The Becker introduced the advanced primer ignition blowback (API) design for autocannons, a concept that was quickly taken up by other companies. Notable among these was the Swiss Oerlikon FF S, which was based on the Becker but introduced a number of improvements. In the 1930s, Hispano-Suiza was asked to develop a 20 mm cannon to fire through the propeller shaft (as a "moteur-canon") of a gear-reduction inline aviation engine like the Hispano-Suiza 8BeC. They took out a license on the Oerlikon FF S and made minor modifications to produce the Hispano-Suiza Automatic Cannon Type HS.7 and HS.9. Shortly after production began, the Hispano-Suiza and Oerlikon companies disagreed over patent rights and their business connection came to an end.


title: Hispano-Suiza HS.404

text: In 1933, the chief engineer of Hispano-Suiza, Marc Birkigt, began work on the design of a new weapon to replace the Oerlikon contract, based on a locking mechanism patented in 1919 by the American machine-gun designer Carl Swebilius. The result was the Type 404 or HS.404. While the HS.404 resembled the parent Oerlikon FF S in many respects, its repeating mechanism was a gas-operated locking bolt.


title: Hispano-Suiza HS.404

text: On firing the 404, when the projectile passes a hole cut in the barrel, about half way along its length, high pressure gas behind the projectile is siphoned off and operates a piston that drives a rod, running along the top of the barrel, back against a cam on the bolt, unlocking it and allowing the remaining high pressure gases in the barrel to propel it and the spent cartridge backwards in a delayed sequence that allows the bolt to remain closed until the bullet has exited from the barrel. This maximizes muzzle velocity and since the bolt was locked during firing, it could be lighter than that of the Oerlikon, thus facilitating an increase in rate of fire to 700 rounds per minute (rpm), a gain of about 200 rpm. In 1938, Birkigt patented it and started production in their Geneva factory.


title: Hispano-Suiza HS.404

text: The HS.404's predecessor, the Oerlikon type S auto-cannon, was rather heavy, and the movement of the heavy bolt made it best suited in static and maritime anti-aircraft defence. The lighter bolt of the HS.404 made it well suited to mounting on vehicles. The M16, an anti-aircraft version of the M3 Half-track, could be equipped with single or double American made copies of the Hispano-Suiza auto-cannon. This variant of the M3 Half-track was used by US and Commonwealth forces late in the Second World War, in the Korean War and was further developed by Israel in the post-war era.


title: Hispano-Suiza HS.404

text: In 1938, an aircraft based version of the HS.404 was produced at the request of the French government. It was installed on a wide range of pre-war French fighter aircraft, notably in installations firing through the propeller shaft of the Hispano-Suiza 12Y engine, a system referred to as a "moteur-canon" (engine cannon). The HS.404 was fed by drum magazines that could accommodate 60 rounds at most. Since in most installations the magazine could not be switched during flight, the small ammunition capacity was a weakness. In 1940, Hispano-Suiza was developing a belt-feeding system, as well as derivatives of the HS.404 in heavier calibres such as 23 mm but these projects were halted with the German occupation of France.


title: Hispano-Suiza HS.404

text: Before the Second World War, the United Kingdom had embarked on a programme to develop cannon-armed fighters. They acquired a licence to build the HS.404, which entered production as the Hispano Mk.I intended as aeroplane armament. Its first use was in the Westland Whirlwind of 1940 and later in the more powerful Bristol Beaufighter, providing the Royal Air Force (RAF) with powerful cannon-armed interceptors. The experience of the Battle of Britain had shown the batteries of eight rifle-calibre machine guns to be inadequate and prompted the adoption of autocannon armament for the primary portion of RAF fighters. The Beaufighter highlighted the need for a belt feed mechanism; as a night fighter the 60-round drums needed to be replaced in the dark by the Radar/Wireless Operator, often while the aircraft was manoeuvring. The early trial installations in the Hawker Hurricane and Supermarine Spitfire had shown a tendency for the gun to jam during combat manoeuvres, leading to some official doubt as to the suitability of cannon as the sole main armament. This led to the Air Ministry for a brief period specifying 12-machine gun armament for new fighters.


title: Hispano-Suiza HS.404

text: A suitable belt-feeding system was developed by Martin-Baker and the new design was adopted by the RAF and Fleet Air Arm in 1941 in a slightly modified form as the Hispano Mk.II. Four cannons replaced the eight .303 Browning machine guns in the Hurricane and in some tropical versions of the Spitfire, becoming standard armament in later fighters. Most other Spitfires had only two cannons because the outboard cannon tended to freeze at high altitudes. These were complemented with four 0.303 calibre (7.7mm) or two 0.50 calibre (12.7mm) machine guns.


title: Hispano-Suiza HS.404

text: The British were concerned their production would be inadequate and licensed production of the Hispano to the US but this production never became satisfactory and the British eventually gave up on the US versions. British production was eventually increased to the point where this was no longer necessary. The ultimate version of the British wartime Hispanos was the Hispano Mk. V, which had a shorter barrel, and lacked the cocking cylinder thus requiring manual cocking before flight. It was lighter and had a higher rate of fire (desirable in aircraft armament), although at the expense of some muzzle velocity. The shorter barrel meant that the weapon could be housed within the wing of a fighter plane, reducing drag and making the gun less vulnerable to freezing and mechanical stress. One of the main British fighters to use the Mk. V was the Hawker Tempest Mk. V Series II, which mounted two cannon in each wing. Ammunition types available included Semi-Armour Piercing, Incendiary (SAPI) and High Explosive, Incendiary (HEI). Around 42,500 Hispano cannon of various marks were manufactured by Birmingham Small Arms (BSA).


title: Hispano-Suiza HS.404

text: The British version was also licensed for use in the United States as the M1, with the United States Army Air Corps (USAAC) and U.S. Navy, which concluded that a single HS404 is analogous to three .50 machine guns in firepower while weighing less than twice as much, planning to switch to the 20 mm calibre as soon as the gun could be produced in sufficient numbers. In 1941 a very large building program was established, along with the production of ammunition. When delivered, the guns proved to be extremely unreliable and suffered a considerable number of misfires due to the round being lightly struck by the firing pin. The British were interested in using this weapon to ease the demand on production in England but after receiving the M1 they were disappointed. British wing-mounted fighter weapons by this period were cocked on the ground by the aircraft armourers before flight, the pneumatic cocking mechanism used previously being regarded as unnecessary weight and detrimental to aircraft performance; any stoppage in flight made the gun unusable until it could be cleared on the ground. The misfires also had the tendency to cause aircraft with wing-mounted guns to yaw away from the wing with the failed gun when the guns were fired, due to the unequal recoil, throwing off the pilot's aim.


title: Hispano-Suiza HS.404

text: In April 1942 a copy of the British Mk.II was sent to the U.S. for comparison. The British version used a slightly shorter chamber and did not have the same problems as the U.S. version of the cannon. The U.S. declined to modify the chamber of their version but nonetheless made other modifications to create the unreliable M2. By late 1942 the USAAF had 40 million rounds of ammunition stored but the guns remained unsuitable. The U.S. Navy had been trying to switch to using cannon on all its combat aircraft throughout the war but the conversion never occurred. As late as December 1945 the U. S. Army Chief of Ordnance was still attempting to complete additional changes to the design to allow it to enter service. Some variations of the 20 mm guns used on the Lockheed P-38 Lightning aircraft were produced by International Harvester. The P-38's nose-mounted M2 featured a built-in cocking system and could simply be re-cocked in flight after a misfire, which made the misfires less of a problem than with other aircraft.


title: Hispano-Suiza HS.404

text: The U.S. followed the British development closely and when the Mk.V was designed, the Americans followed suit with the A/N M3 but unreliability continued. After the war the United States Air Force (USAF) adopted a version of the M3 cannon as the M24, similar in most respects except for the use of the addition of electrical cocking, allowing the gun to re-cock over a lightly struck round. The problems of the American weapons led to most US fighters being equipped with the AN/M2 .50 cal Browning light-barrel machine gun throughout the war.


title: Hispano-Suiza HS.404

text: After the war, the Hispano variants disappeared fairly quickly as fighter armament due to the introduction of revolver cannon, based on the prototype versions of the un-built German wartime Mauser MG 213 design. The British introduced the powerful revolving 30 mm ADEN cannon in most of their post-war aircraft, while the French used the similar DEFA cannon, firing similar ammunition. The USAF introduced the 20 mm M39 cannon to replace the M24, while the Navy combined the original Hispano design with a lighter round for better muzzle velocity in the Colt Mk 12 cannon. As a ground vehicle-mounted gun, either anti-aircraft or as a general-purpose autocannon, the HS.404 lasted into the 1960s. A powered turret variant is still in production in Honduras and is used as a light anti-aircraft gun by the army and navy in several nations. The AN/M3 was developed into the Mk12 Colt 20 mm automatic cannon, one of the main weapons on boats of the Mobile Riverine Force in the Vietnam War and also used on some larger amphibious ships.


title: Hispano-Suiza HS.404

text: The Hispano fired a 20 mm diameter projectile from a long casing, the whole round weighing . Lengths of the projectiles varied with type but were set to variable depth in the casing to produce a total full round length of regardless of projectile type. The gun had a muzzle velocity between , depending on barrel length. Rate of fire was between 600 and 850 rounds per minute. The gun was long, weighing between . The British Mk V and American M3/M24 weapons were lighter and had higher rates of fire than the early HS.404 guns.


title: Hispano-Suiza HS.404

text: Ammunition was shipped in rectangular 10-shell fiberboard cartons. There were 12 cartons per metal-lined wooden packing crate (120 rounds).


title: Hispano-Suiza HS.404

text: The M90 series of shells were ballistically matched to make it easier to use different types without losing accuracy. Ammunition was shipped in 25-round metal canisters. There were 6 metal canisters per wooden crate (150 rounds).


title: Kumis

text: Kumis (also spelled kumiss or koumiss or kumys, see other transliterations and cognate words below under terminology and etymology – , "qymyz") , "ääryg") is a fermented dairy product traditionally made from mare milk or donkey milk. The drink remains important to the peoples of the Central Asian steppes, of Turkic and Mongol origin: Kazakhs, Bashkirs, Kalmyks, Kyrgyz, Mongols, and Yakuts. Kumis was historically consumed by the Khitans, Jurchens, Hungarians, and Han Chinese of North China as well.


title: Kumis

text: "Kumis" is a dairy product similar to "kefir", but is produced from a liquid starter culture, in contrast to the solid "kefir" "grains". Because mare's milk contains more sugars than cow's or goat's milk, when fermented, "kumis" has a higher, though still mild, alcohol content compared to "kefir".


title: Kumis

text: Even in the areas of the world where "kumis" is popular today, mare's milk remains a very limited commodity. Industrial-scale production, therefore, generally uses cow's milk, which is richer in fat and protein, but lower in lactose than the milk from a horse. Before fermentation, the cow's milk is fortified in one of several ways. Sucrose may be added to allow a comparable fermentation. Another technique adds modified whey to better approximate the composition of mare's milk.


title: Kumis

text: "Kumis" comes from the Turkic word "kımız". "The Encyclopedia of Fermented Fresh Milk Products" states that the word derives from the name of the Kumyks, one of many Turkic peoples, although this appears to be a purely speculative claim. Clauson notes that "kımız" is found throughout the Turkic language family, and cites the 11th-century appearance of the word in "Dīwān Lughāt al-Turk" written by Mahmud al-Kashgari in the Karakhanid language.


title: Kumis

text: In Mongolia, the drink is called "airag" ( ) or, in some areas, "tsegee". William of Rubruck, in his 13th-century travels, calls the drink "cosmos" and describes its preparation among the Mongols.


title: Kumis

text: A 1982 source reported 230,000 mares were kept in the Soviet Union specifically for producing milk to make into "kumis".


title: Kumis

text: Rinchingiin Indra, writing about Mongolian dairying, says "it takes considerable skill to milk a mare" and describes the technique: the milker kneels on one knee, with a pail propped on the other, steadied by a string tied to an arm. One arm is wrapped behind the mare's rear leg and the other in front. A foal starts the milk flow and is pulled away by another person, but left touching the mare's side during the entire process.


title: Kumis

text: In Mongolia, the milking season for horses traditionally runs between mid-June and early October. During one season, a mare produces approximately 1,000 to 1,200 litres of milk, of which about half is left to her foal.


title: Kumis

text: "Kumis" is made by fermenting raw milk (that is, unpasteurized) over the course of hours or days, often while stirring or churning. (The physical agitation has similarities to making butter.) During the fermentation, lactobacilli bacteria acidify the milk, and yeasts turn it into a carbonated and mildly alcoholic drink.


title: Kumis

text: Traditionally, this fermentation took place in horse-hide containers, which might be left on the top of a yurt and turned over on occasion, or strapped to a saddle and joggled around over the course of a day's riding. Today, a wooden vat or plastic barrel may be used in place of the leather container. In modern, controlled production, the initial fermentation takes two to five hours, at a temperature of around ; this may be followed by a cooler aging period.


title: Kumis

text: "Kumis" itself has a very low level of alcohol, between 0.7 and 2.5%, comparable to small beer, the common drink of medieval Europe that also helps to avoid the consumption of potentially contaminated water. "Kumis" can, however, be strengthened through freeze distillation, a technique Central Asian nomads are reported to have employed. It can also be made into the distilled beverage known as "araka" or "arkhi".


title: Kumis

text: Archaeological investigations of the Botai culture of ancient Kazakhstan have revealed traces of milk in bowls from the site of Botai, suggesting the domestication of dairy animals. No specific evidence for its fermentation has yet been found, but considering the location of the Botai culture and the nutritional properties of mare's milk, the possibility is high.


title: Kumis

text: "Kumis" is an ancient beverage. Herodotus, in his 5th-century BC "Histories", describes the Scythians processing of mare's milk:


title: Kumis

text: Now the Scythians blind all their slaves, to use them in preparing their milk. The plan they follow is to thrust tubes made of bone, not unlike our musical pipes, up the vulva of the mare, and then to blow into the tubes with their mouths, some milking while the others blow. They say that they do this because when the veins of the animal are full of air, the udder is forced down. The milk thus obtained is poured into deep wooden casks, about which the blind slaves are placed, and then the milk is stirred round. That which rises to the top is drawn off, and considered the best part; the under portion is of less account.


title: Kumis

text: This is widely believed to be the first description of ancient kumis-making. Apart from the idiosyncratic method of mare-milking, it matches up well enough with later accounts, such as this one given by 13th-century traveller William of Rubruck:


title: Kumis

text: This "cosmos", which is mare's milk, is made in this wise. […] When they have got together a great quantity of milk, which is as sweet as cow's as long as it is fresh, they pour it into a big skin or bottle, and they set to churning it with a stick […] and when they have beaten it sharply it begins to boil up like new wine and to sour or ferment, and they continue to churn it until they have extracted the butter. Then they taste it, and when it is mildly pungent, they drink it. It is pungent on the tongue like rapé wine when drunk, and when a man has finished drinking, it leaves a taste of milk of almonds on the tongue, and it makes the inner man most joyful and also intoxicates weak heads, and greatly provokes urine. Rubruk also mentions that the Mongols prized a particular variety of black kumiss called "caracosmos," which was made specifically from the milk of black mares.


title: Kumis

text: Strictly speaking, "kumis" is in its own category of alcoholic drinks, because it is made neither from fruit nor from grain. Technically, it is closer to wine than to beer, because the fermentation occurs directly from sugars (wine is usually fermented directly from fruit, whereas beer relies on starches, usually from grain, which convert to sugars by mashing). In terms of experience and traditional manner of consumption, however, it is much more comparable to beer and is even milder in alcoholic content than beer. It is arguably the region's beer equivalent.


title: Kumis

text: "Kumis" is very light in body compared to most dairy drinks. It has a unique, slightly sour flavor with a bite from the mild alcoholic content. The exact flavor is greatly variable between different producers.


title: Kumis

text: "Kumis" is usually served cold or chilled. Traditionally it is sipped out of small, handle-less, bowl-shaped cups or saucers, called "piyala". The serving of it is an essential part of Kyrgyz hospitality on the "jayloo" or high pasture, where they keep their herds of animals (horse, cattle, and sheep) during the summer phase of transhumance.


title: Kumis

text: During the Yuan dynasty of China, kumis was essentially made to be the replacement of tea. Furthermore, Möngke Khan, the fourth Great Khan of the Mongol Empire, had a drinking fountain made in his capital of Karakorum, including kumis alongside Chinese rice wine, Scandinavian mead, and Persian grape wine as a symbol of the empire's diversity and size.


title: Kumis

text: Bishkek, the capital of Kyrgyzstan, is supposedly named after the paddle used to churn the fermenting milk.


title: Kumis

text: The famous Russian writer Leo Tolstoy in "A Confession" spoke of running away from his troubled life by drinking "kumis".


title: Kumis

text: The Russian composer Alexander Scriabin was recommended a kumis diet and "water cure" by his doctor in his twenties, for his nervous condition and right-hand injury.


title: Tomorrow and tomorrow and tomorrow

text: "Tomorrow and tomorrow and tomorrow" is the beginning of the second sentence of one of the most famous soliloquies in William Shakespeare's tragedy "Macbeth". It takes place in the beginning of the fifth scene of Act 5, during the time when the Scottish troops, led by Malcolm and Macduff, are approaching Macbeth's castle to besiege it. Macbeth, the play's protagonist, is confident that he can withstand any siege from Malcolm's forces. He hears the cry of a woman and reflects that there was a time when his hair would have stood on end if he had heard such a cry, but he is now so full of horrors and slaughterous thoughts that it can no longer startle him.


title: Tomorrow and tomorrow and tomorrow

text: Seyton then tells Macbeth of Lady Macbeth's death, and Macbeth delivers this soliloquy as his response to the news. Shortly afterwards, he is told of the apparent movement of Birnam Wood towards Dunsinane Castle (as the witches had prophesied to him), which is actually Malcolm's forces having disguised themselves with tree branches so as to hide their numbers as they approach the castle. This sets the scene for the final events of the play and Macbeth's death at the hands of Macduff.


title: St. Vincent–St. Mary High School

text: St. Vincent–St. Mary High School is a co-educational college preparatory Catholic high school in Akron, Ohio, United States. It is sponsored by the Society of Mary and is associated with the Diocese of Cleveland. As of the 2017–18 school year, the school had an enrollment of 638 students.


title: St. Vincent–St. Mary High School

text: The current St. Vincent–St. Mary High School was formed by the merger of St. Vincent and St. Mary High Schools in 1972. The newly merged school took on the athletic nickname of St. Vincent, the Fighting Irish.


title: St. Vincent–St. Mary High School

text: In May 2013, St. Vincent–St. Mary alumnus LeBron James donated $1 million to the school for the purpose of renovating their basketball arena. The project included the installation of a new basketball floor, scoreboard, locker rooms, and bleachers, and the seating capacity, which was raised from 1,600 to 1,831. The subsequently renamed LeBron James Arena now also serves as home of the American Basketball Association's Akron Aviators.


title: St. Vincent–St. Mary High School

text: In 1887 Richard Gilmour, then Bishop of Cleveland, had commissioned Rev. Dr. Thomas F. Mahar, pastor of St. Vincent Church, the oldest Catholic church in Akron, to establish a mission in south Akron. St. Mary Parish was founded by Rev. Mahar in 1896. The high school was founded a year later. St. Mary's athletic teams were formerly known as the Crusaders.


title: St. Vincent–St. Mary High School

text: A high school was opened in September 1906 to provide parishioners' sons with a classical education beyond grade school. The parish had already opened St. Vincent Grade School, Akron's oldest Catholic school still in operation. At the time of the merger, St. Vincent High School had graduated over 6,000 students.


title: The Long Dark

text: The Long Dark is a first-person survival video game developed and published by Hinterland Studios. The player assumes the role of crash-landed bush pilot Will Mackenzie who must survive the frigid Canadian wilderness after a geomagnetic storm. The game received seed financing from the Canada Media Fund, and further funding was secured through a successful Kickstarter campaign in October 2013.


title: The Long Dark

text: An alpha version was released through Steam Early Access in September 2014. The alpha version was later launched on the Xbox One as one of the first two launch titles associated with Microsoft's Game Preview Program in June 2015. Early reviews of the alpha release were generally positive, and the game went on to sell around 750,000 copies by April 2016. It was officially released on all aforementioned platforms on August 1, 2017, as well as for PlayStation 4. In 2017, it was announced that a film adaptation of "The Long Dark" was in the works. On September 17, 2020, it was announced that the game would be coming to Nintendo Switch later that same day.


title: The Long Dark

text: "The Long Dark" is a survival game which takes place in the frigid Canadian wilderness, and is played from a first-person perspective. The gameplay is stated by the developers to be a "survival simulation that accounts for body temperature, caloric intake, hunger/thirst, fatigue, wind-chill, wildlife, and a host of other environmental factors." The Long Dark has three game modes available to the player, "Story mode", "Survival mode", and "Challenge mode".


title: The Long Dark

text: The game's map is divided up into a number of regions: Mystery Lake, Coastal Highway, Pleasant Valley, Forlorn Muskeg, Desolation Point, Timberwolf Mountain, Mountain Town, Broken Railroad, Hushed River Valley, Bleak Inlet, Ash Canyon, and Blackrock Mountain. All areas are interconnected.


title: The Long Dark

text: Survival mode is set in an open world environment where the player can choose the region they wish to spawn in, and may access any region in the game. The objective is for the player to survive as long as possible by scavenging and utilizing whatever resources they may find within the world. This includes commodities such as food, water, firewood, medicine, and tools such as weapons, axes, knives, and a myriad of other items. Wildlife is also present, such as deer which can be hunted for food, and wolves and bears which are a constant threat to the player as they venture outside. Tools and items degrade over time, forcing the player to make careful decisions regarding their condition and their eventual need for repair. Fire, being a primary component, is necessary for warmth and cooking. The player has to forage for wood and fuel on a regular basis to stay alive. The player can get sick from food poisoning and disease. "The Long Dark" simulates a full day/night cycle, which is a fundamental part of the game. The game also simulates temperature and wind-chill, encouraging the player to monitor the weather and their clothing carefully at all times to prevent death from exposure. Initially, the game did not feature varied experience modes, but due to player demand, Hinterland added three experience modes to accommodate a range of playstyles, and a fourth mode added later. The easiest mode, "Pilgrim", is for players looking for a more exploratory experience, "Voyageur" is a middle ground and the most well rounded with regard to exploration and survival, "Stalker" offers a more hardcore survival experience, and "Interloper" is for players looking for a punishing, difficult experience.


title: The Long Dark

text: Added late in 2017, "Custom" lets the player customize many of the gameplay elements to create a unique gameplay experience.


title: The Long Dark

text: The save game system enforces careful decision making by the player; saving only when the player's avatar enters a building, sleeps, passes time or receives an injury. The only possible ending to the game is player death, with no way to "beat" the game. When the player dies the original save file is deleted, forcing the player to start a new game.


title: The Long Dark

text: Unlike Survival mode, Story mode (also known as "Wintermute") is an episodic adventure game, with survival elements, and does not have a permadeath feature. In Wintermute, the player assumes the role of a crash-landed pilot struggling to survive after a geomagnetic storm and cannot freely travel across the game world, being restricted to certain geographic regions.


title: The Long Dark

text: Story mode was initially planned to be released late 2014, but was pushed back to late 2016. Development was pushed back again and the game was ultimately released on August 1, 2017, with the first two episodes of the five-part story released together. Episode one was entitled "Do Not Go Gentle" and episode two is called "Luminance Fugue".


title: The Long Dark

text: Due to complaints by players, a new version of episode one and two was released in December 2018, with many changes made to the gameplay, presentation and mission structure. Episode three, known as "Crossroads Elegy", was released October 22, 2019. Episode four entitled "Fury, Then Silence" was released October 6, 2021. Raphael van Lierop has stated in October 2022 that episode five is planned to release in late 2023.


title: The Long Dark

text: Following completion of his work as director on "", Raphael van Lierop left Relic Entertainment to work on projects which he felt were "more personal" and "more representative of [his] values". Van Lierop also left Vancouver, moving his family from the city to the northern part of Vancouver Island. Inspired by these new surroundings, he formed Hinterland and began to work on "The Long Dark", a game about surviving the Canadian wilderness. Hinterland wanted to explore a post apocalyptic world from the fringes, away from the urban apocalypse, which "we've all seen a million times" and away from "B-movie cliches like zombies". Van Lierop was also keen to impart a Canadian identity upon the game, having been frustrated with homogenised AAA video games which sacrificed character for mass market appeal, he summed up his approach with, "I'm Canadian. This game is Canadian. Deal with it."


title: The Long Dark

text: When van Lierop announced the Hinterland team in September 2013, members included Alan Lawrance, formerly a lead at Volition, Marianne Krawczyk, writer of the "God of War" series, and David Chan, BioWare's first audio designer. A year later, they were joined by Ken Rolston, the lead designer of "". Hinterland operated as a virtual team, with its members remote workers. Lawrance cites remote work as a crucial factor in his decision to join Hinterland.


title: The Long Dark

text: Hinterland obtained seed funding from the Canada Media Fund, and in September 2013, launched a Kickstarter campaign for "The Long Dark" to raise C$200,000 and build a community around the game. The campaign was successful, raising C$256,617 upon its completion in October 2013. PayPal contributions following the Kickstarter campaign pushed the final total to over C$275,000 by March 2014. Hinterland announced the game's voice cast during the Kickstarter campaign, allowing "The Long Dark" to capitalise on the actors' individual fan bases; the cast announced were Mark Meer, Elias Toufexis, Jennifer Hale and David Hayter. Hinterland were mindful of the game's scope, not wanting to expand the team's size and increase risk, and so limited their Kickstarter stretch goals to those that added quality, rather than those that added in-game content.


title: The Long Dark

text: Van Lierop spoke of their studio's approach to early access at the 2015 Game Developers Conference where he warned against allowing the player community to dictate the game's direction. Van Lierop spoke of the differing play styles in the game's audience; though players that preferred a "hardcore survival" experience were in the minority, they were most vocal in the player community. Had Hinterland pandered to those requests, they might have alienated the silent majority of their player community.


title: The Long Dark

text: In April 2016, Van Lierop posted an update about the Story-mode release, explaining that Hinterland had elected to delay the launch of Story mode until it contained 4–6 hours of initial gameplay instead of the originally planned 2 hours. He also declined to set a release date, saying, "You won't get another promise from me about when it will ship, until we are close enough to being done with it that I can say with 100% certainty, and give you a definitive date that I know isn't going to end up with us pushing out an experience we aren't 100% satisfied with". He pointed to the evolution of Sandbox mode as another reason for delay, saying that its popularity had grown to the point that Hinterland decided to bring back regular updates for it, even though it was originally conceived merely as a test-bed for the Story mode. His post also provided a developmental road-map with short-term, medium-term, and long-term goals for additions and improvements.


title: The Long Dark

text: In February 2020, the developers asked Nvidia to remove "The Long Dark" from GeForce Now, a cloud streaming service, shortly after the service exited beta and went "live". The developers said that their game was improperly placed on the service without any sort of licensing agreement; Nvidia agreed to remove it as a result. The game returned to GeForce Now in May 2020 after Nvidia announced they would switch to an opt-in policy for including games on their platform.


title: The Long Dark

text: Following a period of alpha access exclusive to backers of the crowdfunding campaign, a version of the game featuring only its sandbox-style survival mode was released on Steam Early Access in September 2014 for Windows. It later arrived on Linux in November 2015. Early impressions from critics were generally favorable, but noted the incomplete nature of the game.


title: The Long Dark

text: Leif Johnson, writing for "PC Gamer" in June 2014 felt that the game's small unchanging map rewarded route memorisation whereas the game was most engaging when allowing the player to discover its systems. Andy Kelly, writing for the same publication a month later, praised the atmosphere, highlighting the art style, sound design and lighting. Kelly felt that the game's "focus on atmosphere and environmental survival" made it "[stand] out in an increasingly crowded genre". Also at "PC Gamer" Martin Musgrave wrote that The Long Dark made for one of the greatest survival games to date.


title: The Long Dark

text: At "GameSpot", Shaun McInnis had similar thoughts, seeing that while the survival genre was becoming ever more crowded, "The Long Dark" was "one of the few games in this genre focused on capturing the solitary wonder of fighting to staying alive in the brutal wilderness". John Walker, writing at "Rock, Paper, Shotgun" in August 2014, enjoyed the game and found it "impressively full of things to do", but felt that the accelerated passage of time detracted from the realism. In an early access review for GameSpot in October 2014, Nick Capozzoli too criticised unrealistic systems, noting that one should not need "a dozen energy bars and a pound of venison to sustain yourself day-to-day" and that "a crowbar [shouldn't] lose half its integrity after being used to pry open a couple lockers". Instead of stretching his resources as a survivalist would, he felt "like an insatiable force that roves through the environment, picking it clean." Like Johnson, he criticised the limited area given to explore. With an update later that October, Hinterland doubled the size of the playable area, and expanded it again in February 2015 to bring the size of the game world to 25 km.


title: The Long Dark

text: "Wired" writer Matt Peckham labelled "The Long Dark" a "troubling yet beautiful gem", and joined IGN columnist Lucy O'Brien in recognizing the game's beautiful artistic vision, with O'Brien noting that "Developer Hinterland has gone to great lengths to make the world itself a beautiful place to explore". In a 2015 interview with Creative Director Raphael van Lierop about "The Long Dark"s launch on Xbox One, Gameranx's Holly Green addressed the unique nature of the game's survival mechanics, writing it was "one of the first pure survival games on console, separating the genre from its horror roots and taking its themes of minimalist resource management to their most logical conclusion".


title: The Long Dark

text: By January 2015, the game had sold 250,000 copies and by August 2015, 500,000 copies had been sold. In April 2016, Hinterland announced that over 750,000 copies had been sold across all platforms and expressed gratitude over the 99.78% approval rating from the Steam user-base. As of September 2019, 3.3 million copies have been sold. Sales reached 5 million copies by 2021.


title: The Long Dark

text: The game was nominated for "Best Art Direction", "Best Game Design" and "Best Music/Sound Design", and won the award for both "Best Writing" and "Strategy/Simulation" at the 2018 Webby Awards.


title: Olaf (Frozen)

text: Olaf is a fictional character from Disney's "Frozen" franchise, produced by Walt Disney Animation Studios. Olaf is first presented in the 53rd animated film "Frozen" (2013) as an inanimate snowman created by Elsa and Anna in their childhood. He then reappears as a character in the film as Anna searches for her runaway sister in hopes of restoring summer. Olaf is recreated by Elsa as she accidentally plunges Arendelle into an eternal winter. Olaf helps Anna and Kristoff find Elsa and journeys with them all the way back to the kingdom, where he remains part of the sisters' lives and appears again in the 2019 film, "Frozen II". He is voiced by Josh Gad.


title: Olaf (Frozen)

text: The Disney studio made their first attempts to adapt Hans Christian Andersen's fairytale, "The Snow Queen", as early as 1943, when Walt Disney considered the possibility of producing a biography film of the author. However, the story and the characters proved to be too symbolic and posed unsolvable problems to Disney and his animators. Later on, other Disney executives had made efforts to translate this material to the big screen, however these proposals were all shelved due to similar issues.


title: Olaf (Frozen)

text: In 2008, Chris Buck pitched Disney his version of the story called "Anna and the Snow Queen", which was planned to be traditionally animated. This version was "completely different" from "Frozen"; it had a storyline that stuck much closer to the original material and featured an entirely different Olaf character, the role more resembling Marshmallow's. However, by early 2010, the project was scrapped again. On December 22, 2011, Disney announced a new title for the film, "Frozen", which would be released on November 27, 2013, and a different crew from the previous attempt. The new script, which employed "the same concept but was completely rewritten", finally solved the long-term problem with Andersen's story by depicting Anna and Elsa as sisters.


title: Olaf (Frozen)

text: Josh Gad, a Tony-nominated actor best known for his performance as Elder Cunningham in Broadway's "The Book of Mormon" (which was co-written by the "Frozen's" co-songwriter Robert Lopez), was cast to voice Olaf. Gad later expressed that getting a part in a Disney film was "kind of a dream come true" for him, as he had always been a fan of Disney films in general and their animated productions in particular. "I grew up during the second golden age of Disney animation, when every movie that came out was an event – "The Little Mermaid", "Beauty and the Beast", "Aladdin", "The Lion King"," he said. Impressed by the performances of comedic relief sidekicks such as Timon and Pumbaa in "The Lion King", or the Genie in "Aladdin", Gad set the goal to play characters of this type since his early age: "I remember [...] saying, "I want to do that one day. I really want to do that,"" he recalled. Gad based his performance on his "The Book of Mormon" co-star Rory O'Malley.


title: Olaf (Frozen)

text: As a snowman Anna and Elsa built together as kids, Olaf represents innocent love and the joy the sisters once had when they were young before being split. He is not just funny, he also has a "big role to play representing the innocent love in the scale of fear versus love." It was not until he meant something to the girls that he resonated with us," "Olaf couldn't just be thrown in, he had to have a purpose" and that one of his purposes was to be the embodiment of the sisterly relationship that had gone cold. "When Anna and Elsa were very little, and before Elsa's powers accidentally hurt Anna, they played. They'd sneak away and play with her powers. And you see them roll the snowman. He's not magical. He doesn't come to life. But they name him Olaf and he likes warm hugs." "It inspires the look. And so when Elsa is singing "Let It Go" obviously the first thing she goes to is the last moment she was happy. And it was that moment. And so he's imbued with that. He's innocent love." The continuous themes that can be seen throughout the movie revolve around the power of love and fear. Olaf, on one end of that spectrum, represents the most innocent kind form of love. It is possible that he resembles some of the characteristics of Anna's younger self. This provides a connection between the sisters' happy past and their ability to remember that love in difficult times. Overall his character provides much of the comic relief found in the film, while conveying lovable innocence and purity. "And so he was just a lot of fun, and emotionally he'll bring a lot that we weren't able to show you yet, too. So he's funny in the kids-state-the-obvious kind of way." (Lee) "And he can say very poignant things too." (Buck)


title: Olaf (Frozen)

text: In very early versions of the film, Olaf was originally written as one of the guards at Elsa's castle when the concept of Elsa controlling a legion of menacing snowmen was still in the story. Buck talked on this scrapped character setting, "We always talked about she was trying to learn about her powers. So we talked about it like it's the first pancake. You know that pancakes get burned on the bottom that you throw out. Well, that's Olaf. Olaf was her first pancake." In order to keep the character from getting too complex, the directors wanted him to have a childlike innocence. According to Lee, "When you're a child the awkwardness and the funny shapes you make with the snowmen, the heads are never perfect" and that's how they came up with the ideas when thinking what kids would think of a snowman.


title: Olaf (Frozen)

text: Gad also made plenty of improvements for Olaf during the recording sessions. But the directors were very careful not to risk the character taking over the story. "Olaf was very much a sketch until we had Josh Gad, and then we would just get in the room and play and we'd have a lot of fun and that's really how we found his voice specifically and how he looks at the world. It really was working with Josh that did that." "It was a lot funnier than I expected, thanks largely to Josh Gad's surprisingly well-written deluded snowman character" (Del Vecho). Gad's studio performance was videotaped, and animators used his facial expressions and physical moves as a reference for animating the character.


title: Olaf (Frozen)

text: Hyrum Osmond, one of the film's animation supervisors, served as the character lead for Olaf. Del Vecho described him as "quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it." Osmond himself admitted that "My personality's a bit like Olaf."


title: Olaf (Frozen)

text: The filmmakers developed a new software called "Spaces" to aid artists in deconstructing Olaf and rebuilding him as part of the animation process. "It was kind of an animator's dream," Osmond enthused. "You have a character that can come apart. We said to the animation crew, 'Just have fun with it.'" "The fun part of Olaf, we learned early on that his body parts can fall apart and we knew that we would want to take full advantage of that. You will see quite a bit more of that in the movie in a surprising way." (Chris Buck). "Olaf has become his own sort of standout comic character and the animators are having fun animating him. There's a lot of squash in there – I mean, a lot – and he's the only character we can throw off a cliff and have him come apart on the way down, still survive and be happy. We have the contrast of Olaf being a Snowman but loving the idea of Summer" (Del Vecho)


title: Olaf (Frozen)

text: His first appearance in "Frozen" is during Anna and Elsa's childhood as a snowman. Later, Olaf is recreated during the first chorus of "Let It Go", and unknown to Elsa, comes to life. Two days later, Anna and Kristoff and Sven cross paths with Olaf while traveling through a meadow. Anna's first instinct is to give Olaf the carrot nose that he had been missing. Before they continue on their way, Olaf sings a short number fantasizing about what it might be like to experience summer heat, unaware that he'll melt. Olaf then guides Anna and Kristoff to Elsa's ice palace.


title: Olaf (Frozen)

text: After they are expelled by Marshmallow, Olaf accompanies Anna and Kristoff to the trolls who raised Kristoff, seeking help from Grand Pabbie in regards to ice that is in Anna's heart. There, the trolls try to marry Anna and Kristoff ("Fixer Upper") and Olaf sings a sentence in the sequence.


title: Olaf (Frozen)

text: The group thinks a "True Love's Kiss" can save Anna, and so head back to Arendelle. Olaf gets separated from the group on the way, and only appears again in the library after Hans' betrayal, having managed to sneak past the guards. Olaf comforts Anna, telling her the real meaning of love. Then they head out to the fjord to find Kristoff, but Olaf is blown away.


title: Olaf (Frozen)

text: In the end, when Elsa finally dissipates the eternal winter and reestablishes herself as queen, she creates him a snow cloud to stand directly above him so he could fulfill his dream of living in summer without melting. He then smells a flower and sneezes his carrot nose directly into Sven's mouth, but Sven returns it to him. He is last seen skating with Anna and Elsa as Elsa creates an improvised skating rink on the castle courtyard.


title: Olaf (Frozen)

text: Olaf appears in the short film "Frozen Fever" where he is caught stuffing a piece of cake into his mouth by Elsa. When Elsa is not paying any attention, Olaf quickly spits it back onto the cake where he ate from. Then, he is found helping Kristoff and Sven trying to get rid of the snowgies that are being produced every time Elsa sneezes. At the end of the special, he is seen helping Kristoff and Sven escort the snowgies to live with Marshmallow at the ice palace on the North Mountain.


title: Olaf (Frozen)

text: Olaf made an appearance in an episode of "Sofia the First" titled "The Secret Library: Olaf and the Tale of Miss Nettle", the second episode of a four-part story arc, which premiered February 15, 2016 on Disney Channel and Disney Junior. He is once again voiced by Josh Gad.


title: Olaf (Frozen)

text: Olaf starred in a 21-minute "Frozen" holiday film along with Anna, Elsa, Kristoff, and Sven, which debuted in theaters for a limited time engagement with Disney·Pixar's "Coco" on November 22, 2017. It made its television debut on ABC on December 14, 2017.


title: Olaf (Frozen)

text: When Christmas arrives in Arendelle, Anna and Elsa plan a surprise party for their subjects. Olaf is particularly excited to start the festivities, but when it comes time for the party to begin, all the guests leave after the annual ringing of the Yule bell in the castle courtyard. Anna and Elsa come to realize that their isolation had robbed them of any holiday traditions of their own, which Elsa feels guilty for. Olaf, however, enlists Sven to journey throughout Arendelle and learn from the populace of all the traditions the season has to offer. Once enough information is gathered (including melting and then reforming in Oaken's sauna), Olaf makes his way back to the castle, though a mishap with overloading Kristoff's sled separates the two, and destroys the sled and all the holiday-related keepsakes in the process. With only a fruitcake, Olaf journeys into the woods, and is attacked by vicious wolves while traversing through. He narrowly escapes them, but loses the fruitcake shortly thereafter to a hawk.


title: Olaf (Frozen)

text: Depressed at having failed Anna and Elsa, Olaf wanders into the night, depressed, and figures it would be best to remain lost. Meanwhile, Sven informs Kristoff, Anna, and Elsa of Olaf's encounter with the wolves, and a search party is organized to find the missing snowman. After much searching, the royal sisters come across the downhearted Olaf, who apologizes for failing in his mission. Anna and Elsa reveal that they managed to find a tradition on their own: Olaf. It is revealed that during the years that they were separated, Anna would create drawings of Olaf (and on one occasion, a doll), and slide them under Elsa's door each Christmas as a reminder of their childhood and the love they have for each other. The sisters then lead Olaf and their subjects onto a frozen lake beneath the northern lights to host a holiday party and create a giant Christmas tree made of ice.


title: Olaf (Frozen)

text: Olaf is featured in the sequel to "Frozen", "Frozen II"; released on November 22, 2019, in the US. In this film, it is revealed that Olaf no longer needs his personal flurry and now has a layer of permafrost that keeps him from melting. While running from Arendelle, Olaf starts to blow but Kristoff saves him from being blown away he was seen playing with the children as they were decorating some ice crystals.


title: Olaf (Frozen)

text: When Elsa gets frozen knowing the truth about the past, Olaf disintegrates once Elsa's power is gone. After Anna has the dam destroyed, and Elsa is saved by her action, Elsa rebuilds Olaf.


title: Olaf (Frozen)

text: "Once Upon a Snowman" tells Olaf's story after he is created by Elsa and before he meets Anna and Kristoff. It explains why Olaf likes summer and how he remembers his name.


title: Olaf (Frozen)

text: Inspired by a scene in "Frozen II" in which Olaf recaps the entirety of the first film in 90 seconds, "Olaf Presents" has Olaf recapping several popular Disney films in that same vein. He recaps "The Little Mermaid", "Aladdin", "The Lion King", "Tangled", and "Moana".


title: Olaf (Frozen)

text: At Disneyland, there was a talking audio-animatronic Olaf sitting on top the roof of the cottage that was home to the Anna and Elsa meet-and-greet. From July 5 to September 1, 2014, as part of "'Frozen' Summer Fun" show at Disney's Hollywood Studios, Olaf will appear in "Olaf on Summer Vacation" section to chime in and keep visitors updated on all his adventures. He is also available for pick-ups and take-along in various locations in the park. The character will also appear in ""Frozen" Fireworks Spectacular" section alongside Anna, Elsa and Kristoff, a fireworks display set to the music of "Frozen". Anna, Elsa, Kristoff, and Olaf will make appearances in "Mickey’s Once Upon a Christmastime Parade", offered during "Mickey’s Very Merry Christmas Party" at Magic Kingdom in November and December 2014 (from November 7 to December 31). Officially starting January 7, 2015, Olaf began making meet and greet appearances in Disney California Adventure at "Olaf's Snow Fest", and guests could learn how to draw either Olaf or Marshmallow at the Disney Animation Building's Animation Academy as part of the park's "Frozen Fun" event.


title: Olaf (Frozen)

text: Beginning May 22, 2015, Disneyland debuted a new nighttime parade called "Paint the Night", which includes a "Frozen" float featuring Anna, Elsa, and Olaf, as part of the park's 60th anniversary celebration. Olaf appears as audio-animatronics in the dark ride Frozen Ever After, which opened in Epcot on June 21, 2016. He first appears alongside Sven, inviting guests to Elsa's ice palace to the tune of "Do You Want to Build a Snowman?". He is later seen ice-skating in her castle while singing "For the First Time in Forever" and appears at the end alongside Elsa and Anna to perform "In Summer".


title: Anders Danielsen Lie

text: Danielsen Lie studied Ancient Greek (1997-1998), musicology (2001-2003) and medicine (1999-2007) at the University of Oslo.


title: Anders Danielsen Lie

text: Danielsen Lie made his film debut when he was 11 years old in the title role of "Herman" (1990) by Erik Gustavson. He is best known for his longtime collaboration with director Joachim Trier., with leading roles in his films "Reprise" (2006), "Oslo, August 31st" (2011) and "The Worst Person in the World" (2021), also known as the Oslo Trilogy. "Oslo, August 31st" was selected for "Un Certain Regard" at the 2011 Cannes Film Festival. "The Guardian" critic Peter Bradshaw included Danielsen Lie on his top ten list of the best male performances of 2011. In 2016 he starred alongside Kristen Stewart in Olivier Assayas' supernatural psychological thriller film "Personal Shopper", which was selected for main competition at the 69th Cannes film festival. Danielsen Lie is known for playing emotionally complex, sometimes mentally disturbed, characters. In 2018 he portrayed the perpetrator of the 2011 Norway attacks in Paul Greengrass' docudrama "22 July". Danielsen Lie has played Norwegian, English and French-speaking roles. He performed two different versions of his role in "The Night Eats the World", one in English and one in French. In 2017 he made his stage acting debut in the role of obituary writer Daniel Woolf in Patrick Marber's play Closer (1997).


title: Anders Danielsen Lie

text: Danielsen Lie played major roles in the 2021 films "The Worst Person in the World" by Joachim Trier, and "Bergman Island" by Mia Hansen-Løve. Both films were selected for main competition at the 74th Cannes Film Festival 2021. For his part in The Worst Person in the World he received the National Society of Film Critics Award for Best Supporting Actor 2022, and the performance was named one of the 10 best movie performances of 2021 by "Time" magazine. The film was also declared the best film of 2021 by "Vanity Fair" and "The Atlantic".


title: Anders Danielsen Lie

text: In June 2022 it was announced that he is working with Jessica Chastain, Anne Hathaway and Josh Charles on "Mothers' Instinct", a psychological thriller directed by Benoit Delhomme. Other upcoming projects include Handling The Undead by director Thea Hvistendahl, alongside Renate Reinsve, and a biopic about Vidkun Quisling, the Nazi collaborator who ruled Norway during World War II.


title: Anders Danielsen Lie

text: On 11 April 2011 Danielsen Lie released "This Is Autism", a concept album with music written, performed and produced by himself, loosely based on recordings from his childhood.


title: Anders Danielsen Lie

text: Anders Danielsen Lie is a medical doctor and in-between movies maintains his practice working as a general practitioner with patients in Oslo. While promoting "Bergman Island", he insisted "It doesn't really work and I would never recommend that anybody else combine the two". However, he has continued to maintain both a successful acting career and his medical practice since graduating from medical school. After shooting "The Worst Person in the World" in the fall of 2020, he started working as a medical supervisor for the COVID-19 vaccination center and contact trace team in the Nordre Aker borough of Oslo.


title: Anders Danielsen Lie

text: In 2007 Danielsen Lie and psychologist Maria Øverås authored a Norwegian language non-fiction sexual education book for young adults ("Sex og sånt", Gyldendal, ). The book received an award from the Royal Ministry of Culture and Equality for best non-fiction and was also nominated for the Brage Prize, one of Norway’s most prestigious literary awards. He has also written extensively on public health-related topics for Norwegian newspapers and magazines.


title: Anders Danielsen Lie

text: Danielsen Lie is the son of Amanda Award-winning actor Tone Danielsen. He met Norwegian model Iselin Steiro in 2007, and they married on 5 July 2008. They have two daughters together.


title: Corrosion of Conformity

text: Corrosion of Conformity (also known as COC) is an American heavy metal band from Raleigh, North Carolina, formed in 1982. The band has undergone multiple line-up changes throughout its existence, with guitarist Woody Weatherman as the sole constant member. Weatherman, founding bassist Mike Dean, founding drummer Reed Mullin, and vocalist and rhythm guitarist Pepper Keenan (who joined the band in 1989) are widely regarded as its 'classic' line-up. After a hiatus in 2006, Corrosion of Conformity returned in 2010 without Keenan, who had been busy touring and recording with Down, but announced their reunion with him in December 2014.


title: Corrosion of Conformity

text: The band started as a hardcore punk band but later moved towards a slower and blues-tinged heavy metal sound. To date, the band has released ten studio albums, four EPs, one compilation, and one live album. Their first three studio albums―"Eye for an Eye" (1984), "Animosity" (1985) and "Blind" (1991)―attracted the attention of Columbia Records, who signed the band in 1993. Corrosion of Conformity found success with the release of their 1994 fourth studio album, "Deliverance", which peaked at number 155 on the "Billboard" 200 and spawned the hits "Albatross" and "Clean My Wounds". Their 1996 follow-up "Wiseblood" was also successful, and at the time, it was the band's highest-charting album in the United States, peaking at number 104 on the "Billboard" 200. Their latest album, "No Cross No Crown", was released in 2018 and became the band's first album to enter the top 100 on the "Billboard" 200, where it peaked at number 67.


title: Corrosion of Conformity

text: Corrosion of Conformity was formed in Raleigh, North Carolina, by bassist and vocalist Mike Dean, guitarist Woody Weatherman, drummer Reed Mullin, and singer Benji Shelton in 1982. They were influenced by heavy metal bands like Black Sabbath, Iron Maiden, Scorpions, and Judas Priest, as well as by hardcore groups like Black Flag, Bad Brains, Circle Jerks, Minor Threat, Discharge, and Germs.


title: Corrosion of Conformity

text: They released tracks on the "No Core" cassette tape compilation on the label of the same name along with other North Carolina punk bands in 1982 as well as on the "Why are we here?" 7" compilation in 1983, also on the No Core label. Shelton quit the band in 1983 and COC first recruited Robert Stewart to sing but he stayed only for about a month, so they recruited Eric Eycke from fellow Raleigh band Colcor to be the new singer. They recorded their first album, "Eye for an Eye", with Eycke.


title: Corrosion of Conformity

text: Their hardcore punk-oriented 20-track debut "Eye for an Eye"—the only album featuring Eycke—was initially released in 1984 and later re-released by Caroline Records in 1989. Soon after, Eycke left the band and COC continued as a three-piece with Dean and Mullin sharing vocal duties on 1985's follow-up "Animosity". In 1987, COC recruited Simon Bob Sinister after the breakup of their fellow Carolina band and Death Records labelmates Ugly Americans. The band's 1987 release, "Technocracy," featured the hectic crossover thrash musicianship of COC with a cleaner vocal style than they had in the past.


title: Corrosion of Conformity

text: Mike Dean departed in 1987 and Simon Bob soon followed, leaving COC in a state of flux for a couple of years. The remaining members re-tuned the lineup and searched for a new vocalist, even posting a classified in Flipside Fanzine for a singer similar in sound to "James Hetfield or Ozzy Osbourne" to go with their new metal sound. Caroline Records released some old tracks with Mike singing during this time with the aptly named "Six Songs with Mike Singing" EP.


title: Corrosion of Conformity

text: After much searching, Karl Agell was recruited on vocals, Phil Swisher on bass and Pepper Keenan as a second guitarist. The new line-up released 1991's "Blind", gravitating towards a sludge/groove metal sound. "Blind" was the first COC album to receive mainstream attention. The video for "Vote with a Bullet" (the only song with Keenan on vocals on the album) received airplay on MTV and the album cracked the Billboard Heatseekers chart in early 1992. The album has sold around 250,000 copies in the United States to date.


title: Corrosion of Conformity

text: In 1993, Agell and Swisher left the band and formed the band Leadfoot, Dean returned and Keenan took over lead vocals.


title: Corrosion of Conformity

text: The band began working on their next album for Relativity, "Deliverance". During this time however, session demos for the album found their way into the hands of Columbia Records. The label then offered to buy the band's contract from Relativity; when the label refused, Sony/Columbia bought Relativity, turned it into a distribution label, and transferred the band's contract over to Columbia.


title: Corrosion of Conformity

text: "Deliverance" saw the band also incorporating stoner and Southern rock influences, which they also carried onto the following albums. In 1994, their song Big Problems was featured on the . The song "Clean My Wounds" was featured in the anime movie "".


title: Corrosion of Conformity

text: "Deliverance" was the band's biggest selling album. This was mainly due to the singles "Albatross" and "Clean My Wounds" becoming Top 20 hits on rock radio and the album managed to spend almost four months on the "Billboard" 200, peaking at No. 155. On the Heatseekers chart, it peaked at No. 5 and lasted almost a year on that particular chart. US sales for the album were just over 440,000 by the end of 2005 and this album should be eligible for Gold status within the next few years.


title: Corrosion of Conformity

text: "Wiseblood" was released in October 1996. Despite producing a Top 30 radio hit with "Drowning in a Daydream" and a worldwide tour with Metallica, the album failed to match the sales set by the previous album. Total US sales to date are just over 150,000. "Drowning in a Daydream" was nominated at the Grammy Awards in 1998 for "Best Metal Performance".