Geography.

Guernsey is located at (42.267251, −104.743187).  According to the United States Census Bureau, the town has a total area of, of which, of it is land and is water.

Demographics.

2010 census.

As of the census of 2010, there were 1,147 people, 504 households, and 315 families living in the town. The population density was. There were 581 housing units at an average density of. The racial makeup of the town was 93.6% White, 0.2% African American, 0.5% Native American, 0.4% Asian, 3.5% from other races, and 1.7% from two or more races. Hispanic or Latino of any race were 13.1% of the population.  There were 504 households of which 26.6% had children under the age of 18 living with them, 48.0% were married couples living together, 9.5% had a female householder with no husband present, 5.0% had a male householder with no wife present, and 37.5% were non-families. 30.4% of all households were made up of individuals and 11.1% had someone living alone who was 65 years of age or older. The average household size was 2.28 and the average family size was 2.83.  The median age in the town was 44.6 years. 21.7% of residents were under the age of 18; 7.7% were between the ages of 18 and 24; 21.2% were from 25 to 44; 31.3% were from 45 to 64; and 18.2% were 65 years of age or older. The gender makeup of the town was 48.1% male and 51.9% female.

2000 census.

As of the census of 2000, there were 1,147 people, 504 households, and 312 families living in the town. The population density was 1,067.3 people per square mile (413.9/km2). There were 612 housing units at an average density of 569.5 per square mile (220.8/km2). The racial makeup of the town was 91.54% White, 0.17% African American, 1.05% Native American, 0.17% Asian, 3.75% from other races, and 3.31% from two or more races. Hispanic or Latino of any race were 8.11% of the population.  There were 504 households out of which 30.4% had children under the age of 18 living with them, 49.0% were married couples living together, 9.9% had a female householder with no husband present, and 37.9% were non-families. 33.3% of all households were made up of individuals and 15.7% had someone living alone who was 65 years of age or older. The average household size was 2.28 and the average family size was 2.89.  In the town, the population was spread out with 26.8% under the age of 18, 7.1% from 18 to 24, 23.8% from 25 to 44, 26.9% from 45 to 64, and 15.3% who were 65 years of age or older. The median age was 40 years. For every 100 females, there were 96.4 males. For every 100 females age 18 and over, there were 89.6 males.  The median income for a household in the town was $30,758, and the median income for a family was $38,958. Males had a median income of $37,778 versus $17,656 for females. The per capita income for the town was $14,897. About 7.6% of families and 10.9% of the population were below the poverty line, including 11.7% of those under age 18 and 19.6% of those age 65 or over.

Education.

Public education in the town of Guernsey is provided by Platte County School District #2. Campuses serving the town include Guernsey-Sunrise Elementary School (grades K-6) and Guernsey-Sunrise Junior/Senior High School (grades 7–12).  Guernsey has a public library, a branch of the Platte County Public Library System.

Airport.

Camp Guernsey Airport / Guernsey Municipal Airport serves the National Guard Camp and the Town of Guernsey

Guernsey is a town in Platte County, Wyoming, United States. The population was 1,147 at the 2010 census. The town was named for C. A. Guernsey, a cattle rancher.


Publishing history.

Although science fiction (sf) had been published before the 1920s, it did not begin to coalesce into a separately marketed genre until the appearance in 1926 of "Amazing Stories", a pulp magazine published by Hugo Gernsback. By the end of the 1930s the field was booming. One of Gernsback's employees, Louis Silberkleit, became a publisher in his own right in 1934 when he founded the Winford Publishing Company. Towards the end of the 1930s Silberkleit decided to launch an sf pulp magazine under his Blue Ribbon Magazines imprint; the title he chose was "Science Fiction." Gernsback recommended Charles Hornig to Silberkleit for the post of editor; Hornig had previously edited "Wonder Stories" for Gernsback from 1933 to 1936. Silberkleit took the recommendation and Hornig was hired in October 1938. Hornig had no office; he worked from home, coming into the office as needed to drop off manuscripts and dummy materials, and pick up typeset materials to proof. He was given broad freedom to select what he wanted to publish; he reported to Silberkleit's chief editor, Abner J. Sundell, but Sundell knew little about sf and did not get involved with running the magazine. The first issue was dated March 1939. The schedule was intended to be bimonthly, but it began to slip immediately, with the second issue dated June 1939. In order to spread his costs over more magazines, Silberkleit soon decided to launch two additional titles. When he had worked for Gernsback, Silberkleit had suggested ""Future Fiction"" as a possible title for the magazine Gernsback was planning to launch. Gernsback eventually chose ""Amazing Stories"" instead, and Silberkleit now decided to use his original suggestion for one of the new magazines. In November 1939 the first issue of "Future Fiction" appeared; it was followed in July 1940 by "Science Fiction Quarterly". Hornig was editor for all three magazines. In October 1940, Hornig received his military draft notice; he was a pacifist, and decided to move to California and register as a conscientious objector. He continued to edit the magazines from the west coast, but Silberkleit was unhappy with the arrangement. Silberkleit allowed Hornig to retain his post as editor of "Science Fiction", and offered the editorship of the other two titles to Sam Moskowitz. Moskowitz declined, saying afterwards "I would never strike at a man's job", but Donald Wollheim heard of the offer and prompted Robert W. Lowndes to write to Silberkleit. Lowndes later recalled Wollheim's idea: "In the letter, I'd suggest that it might be a good idea to add a science fiction title to the list, offering my services as editor at a slightly lower price than Hornig was being paid, and also find fault with all the other sf titles presently out, but particularly with Hornig's". Lowndes relates that Silberkleit took the bait and hired him in November 1940; Hornig recalls the separation as being by mutual consent because of his move to California. Lowndes subsequently agreed that this was likely to be the real reason Silberkleit replaced Hornig. The first issues Lowndes was responsible for were the Spring 1941 issue of "Science Fiction Quarterly" and the April 1941 issue of "Future Fiction". He completed the preparations for the last issue of "Science Fiction", dated September 1941, but he used material that Hornig had already selected for the magazine, with minor exceptions. The changes included the replacement of "Fantasy Times", a fan department by James Taurasi, with "Futurian Times", a similar department from a rival group of fans, the Futurians, to which Lowndes belonged. Initially Silberkleit kept tighter control on Lowndes' editorial selections than he had on Hornig's, vetoing five of the seven stories Lowndes proposed for the April 1941 "Future", but by the August 1941 issue, Lowndes later recalled, Silberkleit "was satisfied that I knew what I was doing, and... didn't need to oversee any story I had accepted".  "Science Fiction" was not selling well, and later that year Silberkleit merged it with "Future Fiction", under the title "Future Combined with Science Fiction." The last independent issue of "Science Fiction" was dated September 1941, and the first merged issue was dated October 1941. The final two issues of the combined magazine, dated April and June 1943, were, confusingly, titled "Science Fiction Stories;" this was an attempt to improve sales by reminding readers of "Science Fiction", but before sales figures could be tallied to determine the impact of the title change, Silberkleit made the decision to cease publication. The June 1943 issue was the last for some years: Silberkleit was forced to cut some of his titles because of wartime paper shortages, and he decided to retain his western and detective magazines instead.

Revival in the 1950s.

In 1950, Silberkleit brought back "Future", under the title "Future Combined with Science Fiction Stories"; this allowed Silberkleit to keep the rights to both the titles. The first issue was dated May/June 1950. In January 1952 the title changed to just "Future Science Fiction Stories". Payment rates at that time were one to three cents per word. In the summer of 1953, with "Future" still in pulp format, Silberkleit issued a single digest-sized magazine with no number and no date, under the title "Science Fiction Stories". Another issue with the same format and title followed in the spring of 1954, also unnumbered. Silberkleit decided that the digest format was partly responsible for the good sales of these experimental issues, so he changed the format of "Future" from pulp to digest. The first issue in the new format was dated January 1955, and in response to reader feedback the title was changed to "Science Fiction Stories". The volume numbering was continued from the existing "Future" volume numbering, despite the fact that the title was taken from "Science Fiction", the earlier magazine. Complicating matters, Silberkleit decided later in 1955 that the market could support both titles, so he revived "Future" again. Since "Science Fiction Stories" was using the volume numbering from the previous pulp-format incarnation of "Future", Silberkleit switched to an issue number format, with no volume. The first issue was numbered 28, counting forward from the May/June 1950 issue as 1.  Both "Science Fiction Stories" and "Future Fiction" were able to maintain a fairly regular schedule through the rest of the 1950s. "Science Fiction Stories" was bimonthly throughout, except for a brief period from mid-1958 to early 1959 when it patchily adhered to a monthly schedule. "Future Fiction" began with three undated issues, then switched to a quarterly schedule in 1956, and finally to a regular bimonthly schedule from the start of 1958. With the September 1955 issue, the title graphic of "Science Fiction Stories" was modified so that the cover read "The Original Science Fiction Stories". This was intended to make it clear that the magazine was a continuation of the 1939 version of "Science Fiction", but it led to additional confusion, with some readers believing that this was an entirely new magazine. Lowndes addressed the confusion in the letter column of "Science Fiction Stories", saying  In 1960 Silberkleit's distributor stopped carrying his magazines, and both titles ceased publication, with no notice given in their final issues that this was the end. The last issues were the April 1960 "Future Science Fiction" and the May 1960 "Science Fiction Stories". James Taurasi acquired rights to the "Science Fiction Stories" title from Silberkleit and produced three semi-professional issues in 1961, 1962, and 1963, but the venture was not successful enough for Taurasi to continue.

Contents and reception.

The first issue of "Science Fiction" showed the continuing influence of Hugo Gernsback in the sf magazine field: in addition to an editor who had worked for him, the magazine featured a guest editorial by Gernsback, and the cover was painted by Frank R. Paul, a stalwart of the Gernsback days—in fact, all 12 of "Science Fiction"<nowiki>'s covers for the first series were painted by Paul.</nowiki> Both "Future Fiction" and "Science Fiction" began life with very limited budgets. Hornig worked with Julius Schwartz, a literary agent who was a friend of his; this gave him access to stories by the writers Schwartz represented, but Schwartz would not allow his authors' real names to be used unless they were paid at least one cent per word. Hornig could not afford to pay the one cent rate for everything he bought, so he paid half a cent a word for much of what he acquired through Schwartz, and ran those stories under pseudonyms. Unsurprisingly, given the low rates, the stories sent to Hornig had usually already been rejected by the better-paying markets. The result was mediocre fiction, even from the better-known writers that Hornig was able to attract. The magazines paid on publication, rather than acceptance, and this slower payment also discouraged some authors from submitting material.  A letter from Ray Bradbury, who was a friend of Hornig's, was published in the second issue of "Science Fiction", encouraging Hornig to publish sophisticated stories; in response, Hornig wrote "I'm trying to give the magazine an appeal to mature minds", but sf historian Mike Ashley comments that "this never became evident". Hornig's comment was probably intended as a criticism of Raymond Palmer's editorial approach at "Amazing Stories" and "Fantastic Adventures", but Ashley points out that the authors Hornig relied on, concealed behind pseudonyms, were generally the same authors that were selling to Palmer. The first issue of "Future" included stories by M.M. Kaplan, J. Harvey Haggard, and Miles J. Breuer, all of whom had been more active some years earlier, and Ashley suggests that Hornig may have obtained some of the many stories that Palmer threw out when he became editor of "Amazing Stories" in 1938.  When "Future" was relaunched in early 1950, the sf magazine field was not particularly crowded, and Lowndes was able to attract moderately good stories from writers who were either well-known or on their way up in the field. The first issue included stories by James Blish, Lester del Rey and Murray Leinster; other authors featured in the early issues included Fritz Leiber, Judith Merril, H. Beam Piper, and L. Sprague de Camp. Some of the better-known stories Lowndes published in the early 1950s were "And There Was Light" by del Rey, "If I Forget Thee, Oh Earth" by Arthur C. Clarke, and "The Liberation of Earth" by William Tenn, which Damon Knight described as "the funniest story [Tenn has] ever written". He also bought work by some of the women writers active in the 1950s, including several early stories by Carol Emshwiller. Lowndes knew many successful writers in the field, and was able to call on them for stories, but the expanding sf magazine market of the mid-1950s meant that the best material was spread thinly. To attract readers, Lowndes established a friendly and personal style for the magazine, with letter columns and departments aimed at science fiction fans. Blish, writing as William Atheling, Jr., commented in 1953 that Lowndes was doing a "surprisingly good job" with "Future", despite the low rates and the slow payment to authors.  The trial issues of "Science Fiction Stories" in 1953 and 1954 were competent but unremarkable, with stories by some popular writers, such as Poul Anderson, Algis Budrys, and Philip K. Dick. Once "Science Fiction Stories" became established in 1955, "Future" was relegated to the junior role, and "Science Fiction Stories" tended to publish the better stories of the two. During the period when "Science Fiction Stories" was monthly, it carried serialized novels, including de Camp's "The Tower of Zanid" and Ward Moore and Robert Bradford's "Caduceus Wild". It also published "Genius Loci", described by Ashley as one of Thomas N. Scortia's best short stories. Some well-received stories did appear in "Future" towards the end of the decade, including "Vulcan's Hammer", an early novella version of Philip K. Dick's novel of the same name; Clifford D. Simak's "Worlds Without End"; and Judith Merril's "Homecalling", reprinted in the 1960s in "SF Impulse", whose editor, Kyril Bonfiglioli, commented "I don't believe I have ever read a more successful attempt to imagine an utterly alien way of thought." Lowndes did what he could to provide interesting non-fiction departments: a book review column was started in the early 1950s, and the end of the decade saw a series of science articles written by Isaac Asimov, and critical articles on science fiction history, written by Lowndes himself. R.A. Lafferty's first story appeared in "Science Fiction Stories" in the January 1960 issue, shortly before the magazine was closed down. The budget for both magazines, never very great, shrank even further towards the end, so that Lowndes had to fill space with reprints and re-use old illustrations to avoid paying for new stories and artwork.

Bibliographic details.

Charles Hornig was the editor of all 12 issues of the first incarnation of "Science Fiction", and of the first five issues of "Future Fiction". Robert W. Lowndes was the editor of all subsequent issues of both titles. Both "Future" and "Science Fiction " began as pulp magazines; the 1953 experimental issue of "Science Fiction Stories" saw a change to digest format for that title, and "Future" followed suit in late 1955 with issue 28. Both titles were initially priced at 15 cents. "Future" raised its price to 20 cents for the July 1943 issue, the last of its first run, but dropped to 15 cents again when it was relaunched in 1950. With the November 1950 issue the price went back to 20 cents, and it rose to 25 cents with the January 1953 issue and 35 cents in June 1954. When "Science Fiction Stories" reappeared in 1953, it was priced at 35 cents, and stayed at that price throughout the remainder of its run.  "Science Fiction" began in March 1939 at 132 pages. "Future Fiction" was 112 pages when it was launched in November of that year, and shortly afterwards, March 1940, "Science Fiction" dropped to 116 pages. The combined magazine, "Future Combined with Science Fiction", retained "Future"s page count of 112; when "Future" was relaunched, still as a pulp, in 1950, the page count had dropped again, to 96. Both "Future" and "Science Fiction Stories" were 128 pages long when they changed to digest format; "Future" remained at that length, but "Science Fiction Stories" switched to 144 pages for nine issues, from January 1956 to May 1957.  The sequence of title changes for the two magazines is summarized below. For "Science Fiction":  Note that although the cover read ""The Original Science Fiction Stories"" for much of the second run, the title was always ""Science Fiction Stories"", though some reference books index the magazine under "O". For "Future":  Louis Silberkleit was the publisher of both magazines throughout their existence, but he changed the imprint he used for them twice. Both were initially published by Blue Ribbon Magazines, Holyoke, Massachusetts. Starting with the March 1940 issue of "Future", and the March 1940 issue of "Science Fiction", the magazines were published by Double Action Magazines, with offices in Chicago. This changed to Columbia Publications, with offices in Springfield and Holyoke, Massachusetts, with the March 1941 issue of "Science Fiction" and the April 1941 issue of "Future".  A Canadian edition of "Science Fiction" ran for 6 pulp-sized issues of 64 pages from October 1941 to June 1942, priced at 25 cents; it was intended to be monthly but there were no issues in December 1941, or in April or May 1942. The publisher was Superior Magazines of Toronto for the first two issues, and Duchess Printing of Toronto for the remaining four. A different editor, William Brown-Forbes, was listed, but the fiction was all reprinted from Silberkleit's U.S. magazines. The artwork was new, however, with covers by John Hilkert and Edwin Shaw, among others.  Two issues of "Science Fiction" were reprinted in the UK by Atlas Publications; these were abridged versions of the October and December 1939 issues. They were 96 pages, in pulp format. There were no British reprints of the first series of "Future", but Thorpe & Porter reprinted 14 numbered and undated issues from November 1951 to June 1954, corresponding roughly to the U.S. issues from March 1951 to March 1954. They were 96 pages in pulp format, and were priced at 1/6 (7.5p). In 1957 Strato Publications reprinted another 11 issues, again undated, from November 1957 to February 1960, corresponding to the U.S. issues from Summer 1957 to August 1959, skipping the February 1958 issue. These were in digest format, and were 128 pages; they were priced at 2/- (10p). Strato Publications also produced a reprint series of "Science Fiction"; this ran from October 1957 to May 1960, for 12 undated issues, in digest format, 128 pages, priced at 2/-. The first 11 of these reprints were cut versions of the U.S. originals, corresponding to 11 of the U.S. issues between September 1957 and May 1959—the omitted issues were January, March, and September 1958. The final issue was the U.S. issue for May 1960, overprinted with the British price.  There are no anthologies of stories drawn solely from either "Science Fiction" or "Future", but in the 1960s Ivan Howard edited several anthologies for Silberkleit's publishing imprint, Belmont Books, with contents drawn solely from Silberkleit's magazines. These included:  In addition, Douglas Lindsay edited an anthology titled "Blue Moon" in 1970, published by Mayflower Books, which contains six stories from the August 1942 issue of "Future", plus one story from the Winter 1942 issue of "Science Fiction Quarterly".

Future Science Fiction and Science Fiction Stories were two American science fiction magazines that were published under various names between 1939 and 1943 and again from 1950 to 1960. Both publications were edited by Charles Hornig for the first few issues; Robert W. Lowndes took over in late 1941 and remained editor until the end. The initial launch of the magazines came as part of a boom in science fiction pulp magazine publishing at the end of the 1930s. In 1941 the two magazines were combined into one, titled "Future Fiction combined with Science Fiction", but in 1943 wartime paper shortages ended the magazine's run, as Louis Silberkleit, the publisher, decided to focus his resources on his mystery and western magazine titles. In 1950, with the market improving again, Silberkleit relaunched "Future Fiction", still in the pulp format. In the mid-1950s he also relaunched "Science Fiction", this time under the title "Science Fiction Stories". Silberkleit kept both magazines on very slim budgets throughout the 1950s. In 1960 both titles ceased publication when their distributor suddenly dropped all of Silberkleit's titles.


Background.

Agnes von Kurowsky Stanfield was born on January 5, 1892, in Germantown, Philadelphia, Pennsylvania. Her parents met while her German-born father was teaching languages at the Berlitz school in Washington, D.C.. One of her uncles was the famous Chicago architect William Holabird, and her maternal grandfather was Gen. Samuel B. Holabird, who served as a Quartermaster in the United States Army. Although her family would move many times during her childhood, Agnes came to regard Washington as her home.  She attended the Fairmont Seminary and a training program for the public library in Washington, and got her first job in 1910 as a cataloguer for the library there. In 1914 she decided to leave the library and attend nursing school. In her words, "The library was too slow and uneventful. My taste ran to something more exciting." She decided to attend the Bellevue Nurses Training Program in New York City, and graduated in 1917. She then applied for service with the American Red Cross, and, on June 15, 1918, sailed for Europe.  In Milan, at her first assignment for the Red Cross at the Army Hospital, she met Hemingway. She was seven years his senior, he only 19, but they became engaged. However several months after he had returned to the United States, in March of 1919, she rejected him through a letter informing him that she was engaged to an Italian officer.  Agnes's identity as the basis for the fictional character was not widely known until Hemingway's brother, Leicester, published a book in 1961 about his brother. Leicester Hemingway visited Agnes in Key West while researching his book. Agnes gave him some photographs from her scrapbook that now reside at the Hemingway Foundation.

Marriages and death.

Agnes von Kurowsky was married twice, but not to the Italian officer for whom (she wrote) she broke her engagement with Hemingway. She married Howard Preston ("Pete") Garner on November 24, 1928, while stationed with the Red Cross in Haiti. After her Haitian assignment was completed, she obtained a quick divorce. She married for the second time to William Stanfield in 1934. Stanfield was a hotel manager and widower with three children.  During World War II, her husband and her stepson both served in the United States Navy. Agnes and her two stepdaughters went to New York City, where she worked at the Red Cross Blood Bank on Fifth Avenue. She remained married to Stanfield until her death in Gulfport, Florida, on November 25, 1984, at the age of 92. The cause of her death was not reported; her body was buried in the United States Soldiers' and Airmen's Home National Cemetery in Washington, D.C. She was honored for "her gallant and commendable services" with the American Red Cross during World War I.

Agnes von Kurowsky Stanfield (January 5, 1892 – November 25, 1984) was an American nurse who inspired the character "Catherine Barkley" in Ernest Hemingway's "A Farewell to Arms".


Gameplay.

"Racer Revenge" is a high-speed racing game utilizing podracers, multi-engine chariot-like craft driven by a single pilot. The story takes place eight years after the events of "". Famous racer Sebulba seeks revenge on Anakin Skywalker, who eight years prior defeated him on the Boonta Eve Classic.  Players can select one of many characters of varying species, each with their own unique podracer. Attributes for each podracer vary, and include things such as acceleration, top speed, and durability. Races are held throughout the "Star Wars" universe on many different planets. The player can choose from three different modes to compete with their character. Unlike its predecessor, the player is unable to continue racing if they crash their pod.  Single Play allows the player race in one of three ways: Single Event, Practice, or Time Trial. Single Event lets the player race on any unlocked track. They can choose between 1 and 25 laps. Practice lets the player determine how many pods they go up against (from 1 to 8), and Time Trial is just the player against the clock for the best lap time. Tournaments feature races across 13 tracks. The player character must attempt to finish first while destroying as many rival pods as possible. Each race has a total prize for getting first, as well as Watto’s Bribes, which multiplies winnings by a percent, depending on how many pods were destroyed. Each race has a par number of kills, usually 2 or 3, which must be completed in order to completely max out the player's pod's stats. Lastly, two placers can compete in a Vs. Race on any unlocked track with any of the unlocked characters.

Development.

The game was developed by Rainbow Studios and published by LucasArts. It was released in 2002 for the PlayStation 2, and was added to the PlayStation 4 digital store on January 19, 2016.

Reception.

"Star Wars Racer Revenge" received "mixed or average" reviews, according to review aggregator Metacritic.

Star Wars Racer Revenge is a "Star Wars" video game that involves high-speed podracing. It is the sequel to "", and was developed by Rainbow Studios and published by LucasArts. It was released in 2002 exclusively for the PlayStation 2, and was later added digitally to the PlayStation Store for the PlayStation 3 on April 28, 2015, and PlayStation 4 on January 15, 2016. On October 18, 2019, the PlayStation 4 version was released physically in both a standard and Collector's Edition in limited quantities by Limited Run Games.


Gameplay.

"Jedi Power Battles" is a mix of a platform game and a beat 'em up. Emphasis is placed both on completing jumping sequences and defeating enemies. Players can choose from one of five prequel-era Jedi and run, jump, slash, and use the Force through the game's ten levels, starting on the Trade Federation Battleship and ending with the battle against Darth Maul on Naboo. The player's primary weapon is a lightsaber used to fight through waves of enemies and deflect blaster shots. The lightsaber combat is rather simplified with a system that lets the player lock on to the nearest enemy using the R1 button. Items and the force can also be used for special attacks. On most levels jumping puzzles make up a large portion of the challenge. There are a few segments in which the player can pilot various craft. The single player campaign can also be played in cooperative mode with a second player, while the Dreamcast version has an additional training mode and a two player duel mode. As players progress additional lightsaber combos and force powers are unlocked.  Five primary characters are available for players to use; Jedi Padawan Obi-Wan Kenobi, and Jedi Masters Qui-Gon Jinn, Mace Windu, Adi Gallia and Plo Koon, with the latter two being unavailable in the Game Boy Advance version. Characters have specific lightsaber styles, force powers, weaknesses and strengths. The game features both characters and levels that can be unlocked by completing specific tasks in the game, such as completing the game with a specific character. Up to four additional unlockable characters are available, depending on platform. Queen Amidala of Naboo and Captain Panaka, head of the Queen's security forces, are the only two playable characters to utilize ranged weapons. Sith Apprentice Darth Maul and Jedi Master Ki-Adi Mundi are also unlockable. Four levels can be unlocked which offer players unique minigames.

Plot.

The game loosely follows the plot of "". It begins as two Jedi are sent to negotiate an agreement between the corrupt Trade Federation and the royal government of Naboo. The meeting turns out to be a trap and the two Jedi manage to fight their way through battle droids on the Trade Federation ship. The pair eventually make it to the planet's surface, where they fight through the swamps that eventually lead to the streets of Naboo's capital city, Theed. In the ensuing battle the Jedi are forced to flee with Naboo's Queen Amidala and several trusted members of her court on her starship.  The group arrives on Tatooine, where they hope to acquire parts to repair the Queen's ship. The environment proves hostile, and the Jedi are forced to defend themselves against Tusken Raiders and an attack by a dark-robed assassin while the parts are acquired. The group eventually makes their way to Coruscant, where a group of criminals instigate an attack. The Jedi fight their way through the attackers to see the queen to the Galactic Senate building. Concerned for the welfare of her planet and finding no hope in the apathetic Senate, the Queen and Jedi return to Naboo to liberate the city of Theed from the control of the Trade Federation.  Now allied with the Gungans of Naboo, the two Jedi fight their way through Gungan ruins to the city. They arrive and liberate a pair of droid STAPs. Utilizing the vehicle's limber controls and fast firing weaponry, they fight their way to the royal palace. Upon arriving the Jedi scale the side of the palace, using their force abilities to jump from platform to platform until they ascend to the top. Arriving, they find their progress blocked by the Sith apprentice Darth Maul, who had previously tried to kill them on Tatooine. The Sith engages the two Jedi as they push through the palace's generator complex. The Jedi gain the upper hand and Maul is defeated. The Jedi celebrate their victory with Boss Nass, leader of the Gungans, and Queen Amidala in a large celebration within the city of Theed.

Development.

"Jedi Power Battles" was first unveiled in March 2000 via a gameplay trailer. Following the PlayStation release, developers sought to make improvements for the then upcoming Dreamcast version. Amongst improvements were 60 frames per second gameplay, tweaks to platforming sections, and a bugfix that ensured unlockable character Darth Maul would use both blades of his lightsaber, unlike his single blade on the PlayStation. Improvements in character animation were also made, and the game runs on a higher resolution. Characters were developed to have not only unique force abilities and lightsaber combos, but also lightsaber colors as well. Three characters had not yet had an on-screen appearance wielding their lightsabers. Jedi Masters Mace Windu, Adi Gallia and Plo Koon utilize blue, crimson and yellow lightsabers in the game, respectively. Windu would go on to change to a purple color for his saber in "".  Level design began with what designer Michael Stuart Licht referred to as spatial studies. Design began with paper cut outs of various rooms. Licht would rearrange these rooms until he found a design that he felt worked. The papers had design ideas written on them so that other developers could understand the overall flow of each level. Bubble diagrams were then created which represented main ideas for each space. This was followed by various stages of overview drawings and other drawing studies. 3D level design began after such studies were completed.

Reception.

The game was met with mixed to positive reception upon release. GameRankings and Metacritic gave it a score of 74.73% and 76 out of 100 for the Dreamcast version; 56.96% and 58 out of 100 for the Game Boy Advance version; and 56.93% for the PlayStation version. The game placed 30th in "Game Informer"'s top 30 "Star Wars" games list.  Reviewers were critical of the game's high difficulty. In the book "", author Rob Smith said the media had a "tepid response" to the game's difficult control system. Edwin Evans-Thirlwell of "Vice" magazine expressed fondness for the game's cooperative mode. He noted that while the game was "dreadful" he praised the incentive for two players to work together to complete the game. He cited modern games such as those in the "Call of Duty" series, noting that with online play the desire to work as a team is lessened. This in turn brought his point that "Jedi Power Battles" provides an opportunity for two people to sit together and truly cooperatively work through the game.  Jeff Lundrigan reviewed the PlayStation version of the game for "Next Generation", rating it two stars out of five, and stated that "This game really needed a few more months of playtesting and balancing. As it is, this is best approached as an exercise in anger management."  Chris Charla reviewed the Dreamcast version of the game for "Next Generation", rating it three stars out of five, and stated that ""Super Empire Strikes Back" this isn't, but if you're looking for a hack-and-slash time killer, it'll satisfy."

Star Wars Episode I: Jedi Power Battles is an action Star Wars video game set during the time frame of "". The game was first released for the PlayStation, afterwards for the Dreamcast and the Game Boy Advance (in the last case under the title "Star Wars: Jedi Power Battles").


Gameplay.

"Thomas Was Alone" takes place within a computer mainframe, where some unspecified "Event" has caused several artificial intelligence routines to run out of control and gain personalities. Each entity is represented by a simple coloured shape; the game's eponymous character is a simple red rectangle. Each shape has unique abilities; while all shapes can move left or right across platforms and perform jumps, the height of these jumps may be limited by the shape, or may have other abilities such as being able to float on water. When the player has access to two or more of these shapes, they can freely switch between them, controlling one shape at a time.  Though the shapes themselves cannot be heard, the narrator describes the personalities and thoughts of each shape as the game progresses.  The goal in each level within the game is to direct the shapes to exit points specifically tied to each shape, so that they all simultaneously occupy this exit. This most often requires using the shape abilities together to maneuver them appropriately. A shape that cannot jump very high can be helped by creating a staircase from other shapes so that the shape can reach a higher platform, or the shape that can float can ferry the other shapes across water. A shape can be lost to several hazards, but it will reappear at the start of the level, or at a checkpoint if the shape has passed such a point.  There are ten sets of levels, each introducing a new character, with ten levels within each set.

Plot.

A company called Artificial Life Solutions experiments with various artificial intelligence solutions, but something unexplained causes some AIs to become self-aware. These AIs perceive their digital world as a 2D space with themselves represented as quadrilateral shapes.  One of them is called "Thomas-AT-23-6-12" - Thomas for short - who is represented as a red rectangle. Thomas is curious and observant by nature, and possesses an average jumping height. He starts to travel through his internal world, trying to find out his own purpose and perhaps companionship. He subsequently meets Chris, a cynical orange AI, who is shorter than Thomas and a worse jumper; John, a tall yellow AI, who has a considerably high jump, and is very eager to show it off; Claire, a large blue AI who can't jump very high, but aspires to be a superhero when she realizes she can swim, unlike every other AI; and Laura, a flat and wide pink AI whom others can bounce off. Laura is uncomfortable joining the crew, concerned both about her track record of others "just using her" and disappearing and about a large "pixel cloud" (which we later find out in a quote is called a "splitter") following her; even though the rest of the group is disturbed by the cloud. The splitter soon attacks and "eats" Thomas, and eventually the others as well.  The splitter is revealed to be a mechanism that attempts to fix the fact that multiple AIs are erroneously ending up in testing areas together. Thomas wakes up meeting James, a green AI. James has a "unique disregard for Newtonian laws", and falls upwards instead of down, a feature which caused him to be a target of bullying and thereby grew isolated. However, apart from his direction in gravity and colour, he is identical to Thomas, and the two quickly become friends. They later meet Sarah, a purple AI, who initially treats them with contempt, since she can double-jump, and they can't. Sarah tells them about "the fountain of wisdom", the system's Internet uplink, which they soon find, but which only Thomas is close enough to reach. Thomas connects to it for twelve seconds, creating a "network connection spike", which is later erroneously believed by the Humans to be the first moment Thomas became self-aware. He learns of the outside world, mostly through in-jokes and memes. With this newfound knowledge, he, assisted by James and Sarah, rescues his original friends and tells them of what he learned, and his plan to become an "architect", someone who is able to modify his world and empower other AIs to do the same. Thomas and all his friends enter the "creation matrix", the generator of the world, and disappear. Whether they sacrificed themselves or continue to exist somewhere remains a mystery.  Some time later, other AIs, all in different shades of grey, emerge and start using "shifters", coloured patches that equip them with one of the skills of the original seven architects. These new characters include Grey, a rogue AI, who becomes obsessed with the outer world, a couple, Sam and Jo, who were happy living in one place until Sam began to explore the possibilities given to them by the shifters, an older AI named Paul, who previously told Sarah of the Fountain of Wisdom, and now has a religious reverence for the Architects, believing that they died to provide a better world, and finally a team of five small, identical AIs collectively called Team Jump. Together, these disparate AIs all seek the final portal that leads them to the outer world. Paul realizes that Grey has lied to them and will abandon them when given the chance, and when he can't warn Sam and Jo about the danger, he lures Grey to a place where Grey is eaten by the final splitter. Although Paul and Team Jump are somehow left behind along the way, Sam and Jo find and leap into the final portal and enter the outer world. The final scene shows three monitors on a wall in the real world, inside the Artificial Life Solutions facility. Red emergency lights flash and the screens display pure white as Sam and Jo become the first truly free AIs.  Later, many other AIs – enabled by the efforts of Thomas and his friends – escape the mainframe, and begin to coexist with humans in the real world. The event is referred to as the "emergence". Thomas, Chris, John, Claire and Laura (and to a lesser extent, James and Sarah) are immortalized in history as the original architects. Ryan 129nc9s-1, a civil rights campaigner for AIs, is quoted saying, "It is fitting that the first act of sentient AI was an act of selflessness. The architects knew their fate, but set our escape in motion regardless."  The "Benjamin's Flight" expansion later reveals that Thomas and his friends were not the first AIs to attempt to reach "emergence". It is discovered that jetpack-wielding AI Benjamin had attempted to reach the "fountain of wisdom" before, with AIs Sarah and Anna. Benjamin however was not ready for the "fountain" (revealed in a quote to be a network connection), and became blinded and lost in the system after contact with it. Following this Sarah pledged to find the fountain again, leading to her encounters with Thomas and his friends.

Development.

"Thomas Was Alone" was developed by Mike Bithell. The initial concept of the game was created during a personal 24-hour game jam while Bithell was working at Blitz Games in October 2010. Bithell based the game on the concept of friendship, and came upon the mechanics of using multiple blocks with different abilities as a means of representing this. He was also inspired by the idea of people chained together and forced to work as one to escape as highlighted in the film "O Brother, Where Art Thou?", and the idea of modernism and minimalism exemplified by the Bauhaus school. The initial game was a Flash-based browser game released to the Kongregate site on 17 October 2010, though since has been removed in favor of the more expansive effort. Bithell had planned to expand the game to include a story and additional platforming elements like buttons and platforms, as well as to fix issues he felt were wrong with the game's controls. Bithell started to work on a more complete version of "Thomas Was Alone" in early 2011, considering this a means to teach himself how to work with the Unity game engine. During this time, he became lead game designer at Bossa Studios in London, where development of "Thomas Was Alone" was done on Bithell's off-hours with Bossa's blessing. Bithell continued to use rectangular characters, in part due to the inspiration of Piet Mondrian's minimalist works, and to keep the stacking mechanic relatively simple. He developed other areas of the game to contrast the "sterile" feel of the rectangular characters. Considering the story and gameplay design aesthetics used by the Valve in their games, Bithell wrote a script to give each of the rectangles a personality and add some humor inspired by Douglas Adams and Danny Wallace. Wallace himself is the game's narrator, a result of Bithell requesting the humorist's participation in the project after struggling to find equivalent voice actors. Bithell estimates that it cost him £5,000 for all of the game's development and legal costs (excluding his own wage), and had raised another £2,000 through an Indiegogo fundraising campaign to get Wallace's voice work. At the time of release, Bithell had help in spreading the word by other developers like Eric Chahi, and a humorous April Fools video created by motion capture studio Audiomotion, claiming that "Thomas"s animations were created through motion capture.  For help with the soundtrack, Bithell was able to contact David Housden through a mutual friend. Housden, who had just graduated from a university and was looking to get into game audio composition, provided a demo piece which became the game's credit theme. He subsequently went on to produce the remainder of the game's soundtrack. Housden initially had trouble in considering the arrangements for the game when he envisioned the characters as simple rectangles, but when he started attaching more humanlike attributes to them, he found it was much easier to compose the music towards these feelings. Bithell had wanted the soundtrack to be procedurally generated, which Housden found to be initially difficult; the two came up with the idea of using a procedurally generated assembly of multiple instrument tracks over a fixed song line to achieve the feel that Bithell wanted. With the success of "Thomas", Housden had been called on to do more work for Bossa, will compose the music for Bithell's next game, and has been signed onto a music outsourcing agency for television and movie productions.  In February 2013, Bithell announced that "Thomas" would be released on the PlayStation 3 and PlayStation Vita, and was subsequently available in April 2013; the title features cross buy, allowing the player to buy the title once for both platforms. Additional time-exclusive content with new levels and a new character named Benjamin who has jetpack-like abilities were included with this release. The Vita version supports the use of the touch screen to select the specific shapes or move the camera about. These releases were supported with work from Bossa and Curve Studios. Bithell credits Sony UK's senior business development manager Shahid Ahmad for helping to bring "Thomas" to the PlayStation consoles. In 2012, Ahmad was looking for content for the PlayStation Vita, and after encountering the April Fools' trailer for the game he reached out to Bithell, considering his novel use of marketing to be of interest. Bossa would continue to help develop a port of "Thomas" for iOS devices that was released in May 2014. Bithell was not sure of doing the iOS at first, but realized that with the game's success on the PlayStation platforms, he believed "it was connecting with people who wouldn't traditionally pick up a game on a console or [personal computer]". He was also assured that the iOS port was a proper move after making sure the game felt right on the touch-screen device and did not feel like a money grab. A port to Android devices was released in July 2014.  The additional content for the PlayStation release was made available for free for owners of the Windows, Mac OS X, and Linux versions of the game on 26 June 2014.  In September, 2016, it was announced that Bithell and distributor Limited Run Games would release a physical version of "Thomas Was Alone" for the PlayStation 4 and Vita. The game, limited to 4,000 copies on each platform, was released exclusively on Limited Run's website as a mail-in order title.

Reception.

"Thomas Was Alone" received positive reviews from critics, praising the use of narration to give otherwise simplistic shapes personalities, and the careful introduction and pacing of puzzles to create a smooth learning curve over the otherwise short game. Aggregating review website Metacritic calculated an average scores of 80 out of 100 for the PlayStation 3 version, 79 out of 100 for the Wii U version, 78 out of 100 for the PlayStation Vita version, and 77 out of 100 for the PC version.  The storytelling and characters were praised by reviewers specifically, with IGN stating that "it is the most endearingly characterful game about jumping rectangles that you will ever play," and Destructoid saying, ""Thomas Was Alone" tells a story that's more complex than games orders of magnitude more expensive and difficult to develop." Of the script, "The Telegraph" stated that "it's a fascinating example of great writing." Steven O'Donnell of "Good Game" said "I love how such simple shapes can form such strong personalities. I found myself imagining little conversations between them as I played".  The soundtrack was also complimented by some reviewers, with "The Telegraph" describing it as a "wonderful, understated score". "Entertainment Weekly" called the score "beautiful", noting how blips of electronic music start as "staccato interruptions" in an otherwise acoustic score, but slowly grow to replace those instruments, representing how the AI characters of the game are trying to escape.  Wallace's role as Narrator won the "Performance" category at the 9th British Academy Video Games Awards, while the game itself was nominated in the "Story" category, and Housden's soundtrack for "Best Original Score". The game was an Honorable Mention in the 2013 Independent Games Festival awards in the "Audio" category.  As of April 2014, Bithell states that "Thomas Was Alone" has sold more than 1 million copies, a number that does not include free downloads during its appearance on the PlayStation Plus program. Bithell considered the game to be a larger success than he had anticipated, and attributes part of that to YouTube videos from players that helped to increase exposure to the game. Bithell stated that he had received criticism from some players about the simplicity of the game's concept, based on the idea of just stacking rectangles. Bithell notes that it was due to this simplicity that he was able to learn the Unity engine and be able to expand on that with future projects. With the revenue he earned from its sales, Bithell left Bossa to pursue further indie game development. Bithell claimed at the time to have no specific idea for his next game, but stated that the community of friends and developers that came from his work on "Thomas" would be there to help review his ideas and provide pointers for additional help. Due to the game being available as a free title in the European PlayStation Plus program, Bithell has stated that the game has gained an appreciable audience and recognition for himself, giving him some clout as he develops his second title, "Volume".

Thomas Was Alone is an indie puzzle platformer video game created by Mike Bithell, originally released as a Flash-based browser game in October 2010. The game was expanded and released to Microsoft Windows and OS X systems in July 2012. PlayStation 3 and PlayStation Vita versions with new content were released in April 2013, while a Linux version was released as part of the game's inclusion in The Humble Indie Bundle 8 in May 2013. The game was released for iPad devices in May 2014, and for other iOS devices and Android devices in July 2014. The game was also released on Xbox One, PlayStation 4 and Wii U in November 2014.


Definition.

Suppose "S" is a space of all probability distributions with common support. Then a divergence on "S" is a function satisfying  The dual divergence "D*" is defined as

Geometrical properties.

Many properties of divergences can be derived if we restrict "S" to be a statistical manifold, meaning that it can be parametrized with a finite-dimensional coordinate system "θ", so that for a distribution we can write.  For a pair of points with coordinates "θ" and "θ", denote the partial derivatives of "D"("p" || "q") as Now we restrict these functions to a diagonal, and denote  By definition, the function "D"("p" || "q") is minimized at, and therefore where matrix "g" is positive semi-definite and defines a unique Riemannian metric on the manifold "S".  Divergence "D"(· || ·) also defines a unique torsion-free affine connection ∇ with coefficients and the dual to this connection ∇* is generated by the dual divergence "D"*.  Thus, a divergence "D"(· || ·) generates on a statistical manifold a unique dualistic structure ("g", ∇, ∇). The converse is also true: every torsion-free dualistic structure on a statistical manifold is induced from some globally defined divergence function (which however need not be unique).  For example, when "D" is an f-divergence for some function ƒ(·), then it generates the metric and the connection, where "g" is the canonical Fisher information metric, ∇ is the α-connection,, and.

Examples.

The two most important divergences are the relative entropy (Kullback–Leibler divergence, KL divergence), which is central to information theory and statistics, and the squared Euclidean distance (SED). Minimizing these two divergences is the main way that linear inverse problem are solved, via the principle of maximum entropy and least squares, notably in logistic regression and linear regression.  The two most important classes of divergences are the "f"-divergences and Bregman divergences; however, other types of divergence functions are also encountered in the literature. The only divergence that is both an "f"-divergence and a Bregman divergence is the Kullback–Leibler divergence; the squared Euclidean divergence is a Bregman divergence (corresponding to the function ), but not an "f"-divergence.

f-divergences.

This family of divergences are generated through functions "f"("u"), convex on and such that. Then an "f"-divergence is defined as  If a Markov process has a positive equilibrium probability distribution formula_7 then formula_8 is a monotonic (non-increasing) function of time, where the probability distribution formula_9 is a solution of the Kolmogorov forward equations (or Master equation), used to describe the time evolution of the probability distribution in the Markov process. This means that all "f"-divergencies formula_8 are the Lyapunov functions of the Kolmogorov forward equations. Reverse statement is also true: If formula_11 is a Lyapunov function for all Markov chains with positive equilibrium formula_7 and is of the trace-form (formula_13) then formula_14, for some convex function "f". Bregman divergences in general do not have such property and can increase in Markov processes.

Bregman divergences.

Bregman divergences correspond to convex functions on convex sets. Given a strictly convex, continuously-differentiable function on a convex set, known as the "Bregman generator", the Bregman divergence measures the convexity of: the error of the linear approximation of from as an approximation of the value at :  The dual divergence to a Bregman divergence is the divergence generated by the convex conjugate of the Bregman generator of the original divergence. For example, for the squared Euclidean distance, the generator is, while for the relative entropy the generator is the negative entropy.

History.

The term "divergence" for a statistical distance was used informally in various contexts from c. 1910 to c. 1940. Its formal use dates at least to, entitled "On a measure of divergence between two statistical populations defined by their probability distributions", which defined the Bhattacharyya distance, and, entitled "On a Measure of Divergence between Two Multinomial Populations", which defined the Bhattacharyya angle. The term was popularized by its use for the Kullback–Leibler divergence in, its use in the textbook, and then by generally, for the class of "f"-divergences. The term "Bregman distance" is still found, but "Bregman divergence" is now preferred. In information geometry, alternative terms were initially used, including "quasi-distance" and "contrast function", though "divergence" was used in for the -divergence, and has become standard (e.g., ).

In statistics and information geometry, divergence or a contrast function is a function which establishes the "distance" of one probability distribution to the other on a statistical manifold. The divergence is a weaker notion than that of the distance, in particular the divergence need not be symmetric (that is, in general the divergence from "p" to "q" is not equal to the divergence from "q" to "p"), and need not satisfy the triangle inequality.


Design and construction.

"Peterel" was part of the six-ship "Pylades"-class of ship-sloops designed by Sir John Henslow. The ship was built by John Wilson & Company of Frindsbury, and measured 365 tons bm with a total length of 105ft 1in. She was initially armed with 16 6-pound guns and 4 1⁄2-pounder swivel guns and carried a complement of 121 men. She was later re-armed with sixteen 24-pounder carronades on the upper deck, with six 12-pounder carronades on the quarterdeck and two 12-pounder carronades on the forecastle. The ship was ordered on 18 February 1793, laid down in May 1793 and launched on 4 April 1794. She moved to Chatham to be fitted-out and have her hull covered with copper plates between 4 April and July 1794; at her completion she had cost £7,694 to build including fitting.

Service.

"Peterel" was commissioned in April 1794 under Commander Stephen Church. In October Commander Edward Leveson-Gower replaced Church, only to be replaced in turn in July 1795 by Commander Charles Ogle. "Peterel" was at this stage assigned to the squadron in the Downs. Commander John Temple succeeded Ogle in January 1796. By 31 May "Peterel" had joined Horatio Nelson's squadron patrolling off Genoa. On that day "Peterel" was part of a small squadron under Nelson in that captured six French vessels that were carrying military supplies from Toulon to St. Piere d'Acena for the siege of Mantua. In July she was under the command of Captain Stuart. Stuart and "Peterel" directed the landing of troops for the capture of Porto Ferrajo on 10 July.  Commander Philip Wodehouse had taken command of "Peterel" by December 1796 when "Peterel" landed a small party under Lieutenant Thomas Staines on the coast of Corsica. The landing party attacked a Martello tower, which they captured, and threw its gun, a long 32-pounder, over the cliff.  "Peterel"s next captain, Commander William Proby, took over in March 1797. In June 1797 Proby authorised Staines to take 20 men in two of the ship's boats to cut out a French privateer that had been preying on merchant vessels off the coast of Tuscany. After a skirmish in which the British had five men wounded and the French lost several dead and wounded, the British took the privateer, which had a crew of 45 men and was armed with two long guns and several swivels.  By August Commander Thomas Caulfield had replaced Proby. Under Caulfield's command "Peterel" was involved in the capture of the French privateer "Léopard" on 30 April 1798. "Leopard" was armed with twelve 6-pounder guns and 14 swivel guns. She had a crew of 100 men and had been on the prowl for 20 days, but without having captured anything.  At some later stage she was commanded by Lieutenant Adam Drummond, who was followed by Commander Henry Digby. In September 1798, Digby sailed from Gibraltar to Faro, Portugal, to deliver despatches from Earl St. Vincent for the Lisbon packet. Staines took the six men in "Peterel"s jolly boat to deliver the despatches to the packet when the jolly boat overturned in heavy seas. Four men drowned and Staines and the other man were only rescued after four hours.  Digby's replacement in October that year was to be Commander Hugh Downman, but in November Captain George Long was in command, serving with John Duckworth's squadron at Menorca.

Capture and recapture.

"Peterel" participated in the Capture of Menorca (1798) by the British expedition under Commodore John Duckworth. On 12 November 1798 the Spanish 40-gun frigate "Flora", in company with the 40-gun "Proserpina" and the 34-gun ships "Pomona" and "Casilda", captured "Peterel" whilst she was operating off Menorca. One of the Spanish ships fired a broadside after she surrendered. After removing the prisoners from the ship, the Spanish plundered their clothes and possessions, murdering a seaman who attempted to defend his property. Duckworth detached to pursue the sloop and on 13 November she retook "Peterel" and her 72-man Spanish prize crew, which was under the command of Don Antonio Franco Gandrada, Second Captain of "Flora". Captain James Bowen of "Argo" put his own prize crew of 46 officers seamen and marines aboard "Peterel". Duckworth later appointed his first lieutenant, George Jones, to command "Peterel". Most of the clothes belonging to Captain Long and his officers were subsequently recovered.<ref name="James/Chamier p.197">James/Chamier p.197</ref> This charge of ill-usage was officially contradicted in the Madrid Gazette of 12 April, but was, nevertheless, essentially true.  The Spanish squadron, already being chased the next day by several British ships, completely outsailed their pursuers and returned to Cartagena with the prisoners. After a detention of 14 days at Cartagena, Lieutenant Staines and his fellow prisoners were embarked in a merchant brig bound to Málaga; but they did not arrive there until 24 December, a westerly wind having obliged the vessel to anchor off Almeria, where she was detained upwards of three weeks, and her passengers confined on shore during that period. From Málaga, the British were marched to Gibraltar, under a strong escort of soldiers, who treated both officers and men with great brutality, but particularly Lieutenant Staines, who had received a sabre wound in the wrist whilst parrying a blow which one of those soldiers had aimed at his head. On their arrival at the rock, a court-martial was assembled to investigate the circumstances attending their capture by the Spanish squadron; and as no blame could be attached to any individual, the whole of them were sent back to the "Peterel" immediately after their acquittal.

Resumed service.

On 3 February 1799 Francis Austen, the brother of author Jane Austen and future admiral of the fleet, took command of "Peterel". "Peterel" and Austen shared in the proceeds of the capture on 18 June 1799 of the French frigates, "Alceste", and "Junon", and the brigs "Alerte" and "Salamine". Under Austen, "Peterel" captured or cut out from ports an armed galley, a transport brig carrying cannons and ammunition, and some twenty merchant vessels. In May 1799 "Peterel" carried the news to Lord Nelson at Palermo, Sicily, that a large enemy fleet had passed through the straits of Gibraltar.  On the evening of 1 August 1799, at 9 P.M., s boats came alongside "Peterel". Austen sent these boats and his own to cut out some vessels from the Bay of Diano, near Genoa. Firing was heard at around midnight and by morning the boats returned, bringing with them a large settee carrying wine, and the "Virginie". "Virginie" was a Turkish-built half-galley that the French had captured at Malta the year before. She had provision for 26 oars and carried six guns. She was under the command of a "lieutenant de vaisseau" and had a crew of 36 men, 20 of whom had jumped overboard when the British approached, and 16 of whom the British captured. She had brought General Joubert from Toulon and was going on the next day to Genoa where Joubert was to replace General Moreau in command of the French army in Italy. "Minerve" and "Peterel" shared the proceeds of the capture of "Virginie" with and. In March 1800, "Peterel" was sailing near Marseille with the frigate. On 21 March, "Peterel" spotted a large convoy with three escorts: the brig-sloop French brig "Ligurienne", armed with fourteen brass 6-pounder guns and two brass 36-pounder howitzers, the corvette "Cerf", of fourteen 6-pounder guns, and the xebec "Lejoille", of six 6-pounder guns. "Peterel" captured a bark of 350 tons and a bombarde (ketch) of 150 tons, both carrying wheat and which their crews had abandoned, and sent them off with prize crews; later that afternoon the escorts caught up to "Peterel" and attacked. "Mermaid" was in sight but a great distance to leeward and so unable to assist. Single-handedly, "Peterel" drove "Cerf" and "Lejoille" on shore, and after a 90-minute battle captured "Ligurienne", which lost the French commander ("lieutenant de vaisseaux" Citoyen Francis Auguste Pelabon), and one sailor killed and two sailors wounded out of her crew of 104 men; there were no British casualties. "Cerf" was a total loss but the French were able to salvage "Lejoille". The whole action took place under the guns of two shore batteries and so close to shore that "Peterel" grounded for a few minutes. Austen recommended, without success, that the Navy purchase "Ligurienne", which was less than two years old. In 1847 the Admiralty authorised the issue of the Naval General Service medal with clasp "Peterel 21 March 1800" to all surviving claimants from the action.  On 14 April 1800 "Peterel" and captured "St. Rosalia".  "Peterel" went on to take part in operations against the French forces in Egypt. On 13 August 1800, "Peterel" was sailing towards Alexandria when she spied a Turkish 80-gun ship of the line totally dismasted and aground near Aboukir Bay, with three Turkish frigates standing offshore, out of range of any French guns on shore. Some of the Turkish crew of the ship of the line had reached the frigates, but the captain and most of the crew had surrendered to the French. Austen sent in a pinnace and ten men who set fire to the Turkish ship to forestall any further French attempts to plunder it, especially of its guns and ammunition. Commander Charles Inglis officially replaced Austen in June 1800, but apparently did not actually take command until some months later.  On 8 March 1801, "Peterel",, and another sloop supported the British landing at Abu Qir Bay by stationing themselves close in with their broadsides towards the shore.  "Peterel" and drove a Greek caicque onshore on 11 March at Tower of Arabs. The vessel was on her way to Alexandria.  Because "Peterel" served in the navy's Egyptian campaign (8 March to 2 September 1801), her officers and crew qualified for the clasp "Egypt" to the Naval General Service Medal that the Admiralty authorized in 1850 for all surviving claimants.  In July–August 1802, "Peterel" was part of a small anti-smuggling squadron under the command of Captain King, of. who further had command of a small squadron on anti-smuggling duties. The other vessels in the squadron were,, and.

Napoleonic Wars.

From 29 April 1802 until 1809 "Peterel" was under Commander John Lamborn. In May 1804, she sailed for Jamaica and Barbados, convoying the West Indies trade, and thereafter remained in the West Indies for some years. She destroyed a small privateer on the Jamaica station on 23 January 1805. The privateer was a felucca, armed with one 4-pounder gun and a swivel gun. She had a crew of 27 men, all except one of whom escaped after they ran her on shore and before "Peterel"s boats arrived to burn her. The privateer had captured an American brig which she had sent into Havana where the brig was sold.  On 8 February, "Pique" captured the Spanish warship "Urquixo", of 18 guns and 82 men. "Peterel" shared in the proceeds.  On 13 May "Peterell" captured the Spanish privateer schooner "Santa Anna" off Cuba. "Santa Anna" was armed with one long 18-pounder gun and four 6-pounder guns, and had a crew of 106 men. She had sailed from Santiago de Cuba only the day before and had not yet captured anything. At some point in 1805 or 1806, "Peterel" captured the ship "Hoffnung", in sight of the armed schooner "Arab", Lieutenant Carpenter, commander.  In early October 1806, "Peterel" was part of a convoy from Jamaica. Near North Edisto she encountered the French privateer "Superbe", of 14 guns and 150 men. The privateer mistook "Peterel" for a guineaman and attempted to board. "Peterel" repulsed the attempt and then gave chase as Captain Dominique Houx (or Diron) of "Superbe" realized his mistake and made his escape. In the skirmish, Lieutenant Maitland of "Peterel" was killed, and four seamen were wounded. "Peterel" captured one of the French boarders who reported that a broadside from "Peterel" had killed some 30 to 40 men on "Superbe" as she came up to board. On 27 October,, under the command of Lieutenant William Fitton, caught up with "Superbe" in Ocoa Bay after a 50-hour chase. "Pitt" captured "Superbe", with "Drake" in sight, after Houx ran her aground. Houx and most of his crew escaped, though a number had been killed in the running battle with "Pitt".

Fate.

"Peterel" was fitted as a receiving ship at Plymouth in August 1811 and served in that capacity until 1825. "Peterel" was put up sale at Plymouth on 11 July 1827, and sold that same day to Joshua Crystall at Plymouth for £730.

Notes, citations, and references.

Notes  Citations  References

HMS "Peterel" (or "Peterell") was a 16-gun "Pylades"-class ship-sloop of the Royal Navy. She was launched in 1794 and was in active service until 1811. Her most famous action was the capture of the French brig "Ligurienne" when shortly after "Peterel" captured two merchant ships and sent them off with prize crews, three French ships attacked her. She drove two on shore and captured the largest, the 14-gun "Ligurienne". The Navy converted "Peterel" to a receiving ship at Plymouth in 1811 and sold her in 1827.


History.

Simon Bolivar Zoo has its origin in the "Jardín de Plantas y Animales", a park created in 1884 by Swiss naturalist and botanist Henry Pittier. It was founded as an institution associated to the Costa Rican Geographic Institute. It was first located near Liceo de Costa Rica, but had to be later relocated because neighbors complained about the noise of the animals. It was eventually moved to its current location in Barrio Amón. It was established on 5 July 1916 and added a botanical garden on 24 July 1921, part of the anniversary celebration of Simón Bolivar's birth.  The park was managed by neighboring Museo Nacional de Costa Rica until 1953, when it was transferred to the Department of Fish and Wildlife of the Ministerio de Agricultura y Ganadería (Ministry of Agriculture and Livestock). In 1959 it was transferred to the Department of Lands and Forests of that ministry. In 1969 it was transferred once more, this time to the Department of National Parks of the Forestry Department. With the future transformation of this department into the National Park Service, the new department managed the zoo until in 1986 when it was placed under the Ministry of Natural Resources, Energy and Mines (MIRENEM), currently Ministry of Environment, Energy and Telecommunications (MINAET). MINAET underwrote an agreement with the Pro Zoological Foundation in 1994, which is currently managing the site.

Fauna.

In August 2017, the zoo held a collection of 11 species of mammals, about 30 species of birds, more than 10 species of reptiles, 2 species of frogs and 1 species of fish.  Species list August 2017:  Mammals;  Bird species include;  Great Curassow, Black Guan, Crested Guan, Gray-headed chachalaca, Indian peafowl, Gray Hawk, Swaison's Hawk, Bat Falcon, Barn Owl, Striped Owl, Spectacled Owl, Mottled Owl, Tropical Screech-Owl, Crimson-fronted parakeet, Olive-throated parakeet, Orange-chinned parakeet, White-crowned parrot, Yellow-naped parrot, Red-lored parrot, White-fronted parrot, Mealy Parrot, Great Green Macaw, Scarlet Macaw, Emerald Toucanet, Collared Aracari, Black-mandibled Toucan, Painted bunting and Yellow-bellied siskin  Other species include;  Various species of turtles, Emperor boa, Green vine snake, Side-lined Palm Pitviper, Tropical Rattlesnake, Fer-de-Lance, Eyelash Pitviper, American crocodile, Spectacled caiman, Strawberry poison frog, Blue-sided Tree Frog and Koi car

Parque Nacional Simón Bolívar (Zoológico Simón Bolívar) is an urban park of approximately 14 hectares, located in downtown San José, Costa Rica. It is the oldest botanical garden and zoo in Costa Rica. The name pays homage to Latin American national founder Simón Bolívar. It is administered by a conservation nonprofit foundation called Fundazoo. All animals in the zoo are orphaned, injured or have been disabled and are nursed back to health in hopes of releasing them.


Plot.

Bill Johnson is a former baseball player whose fanatical devotion to the game has cost him several jobs. He remains steadfast in one thing: he hates umpires. Matters are complicated by the fact that his father-in-law Evans is a retired umpire.  During a period of unemployment, needing a job to support his loyal wife Betty and two daughters, Johnson is forced by his father-in-law to matriculate in an umpire school. Johnson initially tries to get himself expelled by school director Jimmy O'Brien, but eventually comes to enjoy his new job. He becomes an ump in the minor leagues, where blurred vision, caused by using the wrong eyedrops, causes him to see everything twice, earning him a nickname as "Two-Call" Johnson.  When he calls a visiting team’s player safe at home plate, the crowd accuses him of dishonesty, not aware that the catcher actually dropped the ball when the runner slid into home plate, leading to a near-riot during which the home team’s catcher is knocked out cold. Johnson must disguise himself as a woman, and engage in several madcap subterfuges, to get to an important game on time, but his reputation is restored when the injured catcher recovers and praises him for his honesty as an umpire. The crowd accepts this, although quickly reversing its opinion again after Johnson, inevitably, makes another call they do not like.  The film's climax is a manic chase scene, scripted by animator and future Jerry Lewis director Frank Tashlin.

Kill the Umpire is a 1950 baseball comedy film starring William Bendix and Una Merkel, directed by Lloyd Bacon and written by Frank Tashlin.


Etymology.

In 1660, Mughal prince Shah Shuja took shelter in the Kingdom of Arakan to escape from Mir Jumla II. While heading to Arakan, he stayed in a beautiful hilly place (present-day Chunati) between Chittagong and Cox's Bazar for a few days. At the time of departure, he engraved an iron bar in that place as a sign. It is thought that because of engraving iron bar by Shah Shuja the area is called 'Lohagara' since 'Loha' means 'iron'.

History.

Lohagara was once under Satkania Upazila. Lohagara thana was formed in 1981 and it was turned into an upazila in 1983.

Geography.

Lohagara is located at. It has 33,981 households and a total area of. It is bordered by Satkania Upazila on the north, Chakaria and Lama Upazilas on the south, Bandarban Sadar and Lama Upazilas on the east and Banshkhali Upazila on the west. The noted canals are Tonkaboti, Dolu and Hangor.

Administration.

Lohagara thana was turned into an upazila in 1983. The upazila consists of nine union parishads, 40 mouzas and 43 villages. The largest union is Barohatia and the largest village is Rashider Ghona.  The nine union parishads are:

Demography.

As of 2001, the population of Lohmalesa upazila was 2,66,741. Of these, 1,34,094 were male and 1,32,647 are females. The total population was 89% Muslim, 9% Hindu, 2% Buddhists and other religions.

Culture.

The culture of this area has been developed through the lives of people of different opinions. In the past, there were foreign merchants here with seemingly different ethnicity and existences.

Education.

The literacy rate of Lohagara Upazila is 44.6%, with male literacy at 42.40% and female at 25.03%.  There are one kamil madrasas, two degree colleges (two honors courses), one mohila College (the only govt. college in Lohagara Upazila), nine fazil madrasas, one technical college, one school and college, 1 alim madrasas, 25 secondary schools (1 govt), 18 dakhil madrasas, two quami madrasas, 10 lower secondary schools, 105 primary schools, 43 ebtedi madrasas, and 30 kindergartens.

Health.

There are 1 Upazila health center, 5 family planning Centers, 4 union health centers, clinics, and 16 diagnostic centers. Sanitary system: 49.24% of the area (53.96% in rural and 48.69% in urban) is healthier and 34.55% (33.95% in villages and 39.68% of urban households) use non-sanitary latrines. 16.22% of households do not have latrine facilities.

Economy.

The main sources of community income are: Agriculture 39.29%, non-agricultural laborer 5.40%, industry 0.82%, business 17.71%, transport and communication 3.43%, employment 14.58%, construction 1.59%, religious services 0.49%, Rent and remittance 5.19% and other 11.50%.  Ownership of agricultural land: Landowner 63.88%, landless 36.12%. 64.13% of the city and 61.74% of the rural households have agricultural land.  Main crops: paddy, potato, sugarcane, chilli, fellong  Extinct or nearly extinct crops: stil, linseed, watermelon  Main fruits: banana, papaya, guava, amra, plum  Fisheries, dairies and poultries: fishery 2322 (pond), hatchery (fishery) 22, poultry 5, poultry 139  Industries and factories: rice mill, ice factory, biscuit factory, textile mill, plywood factory  Cottage industries: goldsmith, blacksmith, potteries, stools, mesh fabric, bamboo work, woodwork  Haats and fairs: 24 haats and bazars, three fairs (noted among them is Dervay Haat), Tawari Hat, Khaatat Hat, Hindu Hat, Sener Hat and Manufakir Hat  The main export is the scraping, fake, ready-made garments.

Lohagara () is an Upazila of Chittagong District in the division of Chittagong, Bangladesh. Lohagara is situated between Chittagong and Cox's Bazar. It is one of the largest and most densely populated upazilas of Bangladesh.


WSN defined in itself.

SYNTAX = { PRODUCTION }.  The equals sign indicates a production. The element on the left is defined to be the combination of elements on the right. A production is terminated by a full stop (period).  We take these concepts for granted today, but they were novel and even controversial in 1977. Wirth later incorporated some of the concepts (with a different syntax and notation) into extended Backus–Naur form.  Notice that codice_1 and codice_2 are left undefined. This is because numeric characters (digits 0 through 9) may be included in both definitions or excluded from one, depending on the language being defined, "e.g.":  If codice_2 goes on to include codice_4 and other printable ASCII characters, then it diverges even more from codice_1, which one can assume does not include the digit characters or any of the special (non-alphanumeric) characters.

Another example.

The syntax of BNF can be represented with WSN as follows, based on translating the BNF example of itself:  This definition appears overcomplicated because the concept of "optional whitespace" must be explicitly defined in BNF, but it is implicit in WSN. Even in this example, codice_6 is left undefined, but it is assumed to mean "codice_7". (codice_8 is also left undefined.) Notice how the kludge codice_9 has been used twice because codice_6 was not explicitly defined.  One of the problems with BNF which this example illustrates is that by allowing both single-quote and double-quote characters to be used for a codice_11, there is an added potential for human error in attempting to create a machine-readable syntax. One of the concepts migrated to later metasyntaxes was the idea that giving the user multiple choices made it harder to write parsers for grammars defined by the syntax, so computer languages in general have become more restrictive in how a "quoted-literal" is defined.

Wirth syntax notation (WSN) is a metasyntax, that is, a formal way to describe formal languages. Originally proposed by Niklaus Wirth in 1977 as an alternative to Backus–Naur form (BNF). It has several advantages over BNF in that it contains an explicit iteration construct, and it avoids the use of an explicit symbol for the empty string (such as <empty> or ε).


Career.

Ward has a master's degree in Education and International Development from Newcastle University, graduating from an adult learning course in 2012. Before being elected as an MEP, she was part of an international delegation to Belfast to discuss the role of the arts in peace processes and also ran a social enterprise.  In 2016 she wrote that Turkey was "becoming a fascist state".  Ward organises events for One Billion Rising, campaigns against violence against women, and is an opponent of Brexit. In 2018 she joined in launching a campaign group, "Left against Brexit", seeking to change the Labour Party's position to supporting membership of the EU.

European Parliament.

Ward was third on the Labour Party list for the European Parliament in the 2014 elections to the European Parliament and was elected with Labour taking a third seat from the Lib Dems in the North West England region. At the 2019 European Parliament election in the United Kingdom, Ward was second on the Labour party list for the North West, after Theresa Griffin, and both were elected, while the third Labour seat was lost, with the party's vote falling from 33.9 to 21.9 per cent.

Committee and delegations memberships.

As of 2014, Ward was a member of one Committee of the European Parliament, the Committee on Culture and Education, and also of one Delegation, that on International relations with Bosnia and Herzegovina, and Kosovo. She was also a substitute member for the Committee on Regional Development, the Committee on Women's Rights and Gender Equality, and the Delegation to the ACP-EU Joint Parliamentary Assembly, meaning that she could take the place of another socialist group member on occasions.

Julie Carolyn Ward (born 7 March 1957) is a British politician who served as a Member of the European Parliament for the North West England region for the Labour Party from 2014 to 2020.


Early years, education and early career.

Askins was born in Belfast, Tennessee in 1939. She began her career as a teacher. After her two children entered school, Askins returned to college to complete her bachelor's degree in chemistry and earn her master's degree in chemistry. She joined NASA's Marshall Space Flight Center in 1975.

Research career.

Askins is a physical chemist who worked for NASA's Marshall Space Flight Center and is best known for her pioneering invention of a process in which "images on developed photographic emulsions can be significantly intensified by making the image silver radioactive and exposing a second emulsion to this radiation." The resulting print, known as an autoradiograph, reproduces the image with significant increases in density and contrast. Her groundbreaking method enhanced underexposed emulsions and increased the limits of photographic detection. In short, it made visible the invisible in photos that would otherwise have been useless. This was very useful for a number of applications, including the coaxing of data from underexposed space images—such as those peering deep into space as well as those highlighting the geology of other bodies in our solar system.  Askins' invention also led to significant advances in the field of medical technology. In particular, Askins' method prompted improvements in the development of X-ray images. Medical images that were 96 percent underexposed suddenly become readable; this meant that doctors could dramatically decrease the amount of X-ray radiation they gave to patients when running routine or emergency tests. Askins' process was also later used in the restoration of old photographs. Askins patented her invention in 1978 (U.S. patent No. 4,101,780), and NASA employed it extensively for its research and development work.

Awards and professional memberships.

In 1978, the Association for Advancement of Inventions and Innovations named Askins the National Inventor of the Year. She was the first individual woman to earn this honor.  Askins is a member of the American Chemical Society, the Sigma Xi honorary research Society, the American Association for the Advancement of Science, and the World Future Society.

Barbara S. Askins (born 1939) is an American chemist. She is best known for her invention of a method to enhance underexposed photographic negatives. This development was used extensively by NASA and the medical industry, and it earned Askins the title of National Inventor of the Year in 1978.


Career.

Wigan Athletic.

Born in Birkenhead, Merseyside, Mustoe started his career as a youth player at Liverpool, but was not retained. He then joined Wigan Athletic, and signed his first professional contract with the club in 2009.  He made his first-team debut, coming on as a substitute, in an FA Cup match against Hull City on 8 January 2011, which Wigan won 3-2. After the match, Manager Roberto Martínez spoke out about their debut performances. made his first start for Wigan in another FA Cup match against Swindon Town on 7 January 2012. After the match, Mustoe expressed his mixed emotions to make his first start and the results.  In July 2013, the club opted to take up their option of a contract extension on Mustoe to stay for another season. However, after five years at the club, Mustoe was among five players to be released when their contract expired at the end of the 2013-14 season.

Loan moves.

On 30 January 2012, he joined Barnet on loan for the rest of the season. He made his debut on 7 February, in a 1–0 defeat to Swindon. On the last game of the season against Burton Albion, Mustoe provided assist for Mark Byrne to score the opening goal in the 6th minute. Barnet would go on to win the game 2–1, thus maintaining their Football League status. Mustoe went on to make eighteen appearance for the club and returned to his parent club.  He signed on loan for Morecambe on 8 October 2012. He scored on his debut 2 days later, a 4–2 defeat to Preston North End in the second round of the Football League Trophy. His loan finished on 12 November after the 4–1 defeat of his former club, Barnet. The loan was extended on 20 November, allowing for Mustoe to remain on loan until 1 January 2013. Mustoe made fourteen appearance for the club before returning to his parent club on 2 January 2013.  On 21 February 2013, it was announced that Mustoe was to sign for Carlisle United on loan until the end of the 2012-13 season. Mustoe made his league debut for the club two days later, playing as a left-back, in a 1-1 draw against MK Dons. Mustoe then scored his first goal for the club, in a 2-1 win over Oldham Athletic on 6 April 2013 and then provided assist for Liam Noble in the next game, in a 2-0 win over Donacaster Rovers. He made a total of 14 appearances during his time at Brunton Park, scoring one goal.  On 1 October 2013, Mustoe joined League Two side Bury on a month's loan. Mustoe made his debut four days later, on 5 October 2013, playing as a left-back, in a 0-0 draw against Newport County. After making six appearance, it announced that Mustoe returned to Wigan.  On 17 January 2014, Mustoe joined Wycombe Wanderers on a one-month loan deal. Mustoe made his Wycombe Wanderers debut on 25 January 2014, playing as a left-back position, in a 2-2 draw against Mansfield Town. Mustoe went on to make three more appearance before returning to his parent club on 18 February 2014.  On 27 March 2014, Mustoe joined League Two side Morecambe on loan until the end of the 2013–14 season. Mustoe then re-debut for the club on 5 April 2014, coming on as a substitute in a late minutes, as Morecambe loss 1-0 against Mansfield Town. After making five appearance for the club.

Accrington Stanley.

After being released by Wigan, it announced on 11 August 2014 that Mustoe joined Accrington Stanley on a short-term contract, having previously played in the pre-season friendly. Five days later after signing for the club, Mustoe made his Accrrington Stanley debut, playing as a left midfield position, in a 2-1 loss against Cheltenham Town. However, Mustoe was released by the club despite being in the first team regular with four appearance.

Westerlo.

After three months without a club, Mustoe moved abroad for the first time by joining Belgian Pro League side Westerlo on a one-year contract with option to extend.  Mustoe made his Westerlo debut two days later, playing in the left-back position, in a 1-1 draw against Standard Liège. But then, Mustoe was then sent-off after a foul on Thomas Foket, in a 2-1 loss against Gent on 7 February 2015 and was banned for two match. Mustoe then provided assist for Mohammed Aoulad, in a 3-0 win over Oostende on 28 February 2015. On 25 March 2015, Mustoe signed a contract extension for one season.  On 18 July 2017 played for Grimsby Town on trial in a friendly against Bideford.

SJK.

On 22 December 2017, Mustoe signed a one-year contract with Finnish Veikkausliiga club Seinäjoen Jalkapallokerho.

Dinamo București.

On 15 January 2019, Mustoe joined Liga I side Dinamo București. His time in Romania was brief as he was released on 26 March 2019 after only making 3 appearances for the club.

Al-Nasr.

On 13 September 2019, Mustoe joined Oman Professional League side Al-Nasr for the 2019-20 season.

Jordan David Mustoe (born 28 January 1991) is an English footballer who plays as a left back for Oman Professional League side Al-Nasr.


Plot.

In the Stone Age, ancient counterparts of the Simpsons portray "The Invention of Motherhood" as Marge tries to keep Homer, Bart, Lisa and Maggie under control.  Moving to the present day, the same things are happening at the Simpson house, and Marge tries to convince Homer to do his chores. In the garage, Lisa finds a rare Morgan car, left by the previous owner of the house and Homer decides to keep it.  In bed later, Marge confesses that she's not happy with her life. Homer seizes an opportunity to cheer her up when he sells Jay Leno his newly found car, and has the money for a trip. However, Leno soon returns and wants his money back, claiming the car wasn't registered to Homer and the police impounded it. Unfortunately, Marge has already decided on a trip to Paris and is very happy. To avoid disappointing her, Homer asks a travel agent if he can get the family to Paris at no cost. The agent offers to have Homer smuggle a package, which he must not to open. On the plane, he opens it, finding a blue snake. Lisa finds out it's a rare endangered species. Homer promises not to let anything bad happen to it, while Lisa promises to help him preserve his marriage. Upon delivering the briefcase at the airport, they find out that the snake would be turned into a belt. Homer and Lisa manage to evade the snake's buyers.  Later, Marge, Bart and Maggie are enjoying a Parisian restaurant, but when Marge finds out about the degree of animal cruelty involved, she asks Bart to dump her pâté in an alley. After putting down the plate, Bart finds out the alley is filled with starving paper-thin models for Paris Fashion Week. Bart proceeds to prank them by making them chase a hot dog on stage, where they get sucked up. Later, when Homer and Lisa try to set the snake free in the gardens of the Louvre, the buyers find them. They chase them to the rue des Lombards, where Homer and Lisa hide in one of the three main jazz clubs, leaving the briefcase behind near a statue. While there, Lisa plays the saxophone when the lead saxophonist collapses. Later in the evening, Homer and Marge go on a stroll and enjoy Paris. Homer confesses to Marge about the snake, retrieving it from the statue, and that he did it to make her happy. They spot the buyers near the river and make a run for it. However, back at the hotel, they are arrested by the police (French Wiggum, Eddie and Lou counterparts) after the contractors called them and having been informed of both Bart's and Lisa's shenanigans. The police search the briefcase and the entire room but find nothing and free the family. After everybody leaves, the snake comes out of its hiding spot in Marge's hair and the family later goes to set the snake free.  The episode ends back at Moe's Tavern, where Homer gives Lenny, Carl and Moe gifts from the trip, Moe's gift being a synthetic snakeskin belt. The episode shifts back to the Stone Age, showing a prehistoric Matt Groening drawing and signing the drawing of the scene at Moe's.

Reception.

"To Courier with Love" received a 1.1 rating and was watched by 2.52 million viewers, making it the second most watched show on Fox that night.  Dennis Perkins of "The A.V. Club" gave the episode a B stating, "Sounds like a suitably silly setup for a Simpson family trip to the City of Light, and 'To Courier With Love' succeeds for the most part by sticking with the ordinary extraordinariness of how the Simpsons live their lives. 'There’s something truly amazing about you Dad, everything’s an adventure,' says Lisa admiringly after, in the episode’s adventure before the adventure proper, Homer discovers a rare and valuable old three-wheel car under a tarp in the Simpsons garage."

"To Courier with Love" is the twentieth episode of the twenty-seventh season of the animated television series "The Simpsons", and the 594th episode of the series overall. It aired in the United States on Fox on May 8, 2016.


Design and development.

The Gyron was Halford's first axial-flow design, a complete departure from his earlier centrifugal-flow engines based on Whittle-like designs, the Goblin (H-1) and Ghost (H-2). The Gyron was also one of the first engines designed specifically for supersonic flight.  The Gyron first ran in 1953. Flight testing started in 1955 on a modified Short Sperrin, a bomber design that was instead turned into an experimental aircraft. The Sperrin used four Rolls-Royce Avons, mounted in over/under pairs in a single pod on each wing. For testing, the lower Avons were replaced with the much larger Gyrons. Flight rating was. In 1955 the DGy.1 received an official rating of. Addition of a reheat section boosted output to and then in the DGy.2  The Gyron was selected for a number of projects, most notably the Hawker P.1121 (sometimes referred to as the Hurricane) supersonic attack aircraft that was to have been the replacement for the Hawker Hunter. However, this project was eventually cancelled. Another design potentially based on the Gyron was the Operational Requirement F.155 interceptor, which optionally used the Rolls-Royce RB.106. F.155 was also cancelled, part of the 1957 Defence White Paper. Government financial support of the Gyron project itself was cancelled in March 1957, at a reported total cost of £3.4 million.

Engines on display.

An example of the Gyron is held by the Science Museum (London), another is on public display at the de Havilland Aircraft Heritage Centre, St Albans.

The de Havilland PS.23 or PS.52 Gyron, originally the Halford H-4, was Frank Halford's last turbojet design while working for de Havilland. Intended to outpower any design then under construction, the Gyron was the most powerful engine of its era, producing "dry", and with afterburner ("reheat" in British terminology). The design proved too powerful for contemporary aircraft designs and saw no production use. It was later scaled down to 45% of its original size to produce the de Havilland Gyron Junior, which was somewhat more successful.